Nō Drama – Atsumori & Nonomiya

Chikamatsu Monzaemon’s play, The Love Suicides at Amijima explores the disgrace of Jihei and Koharu’s misbegotten romance, the underlying conflict of the hidden innuendos aimed at the Japanese social class and the sense of duty formed between two women from unseemmingly different backgrounds. In order to fully understand these themes, on must take into account the societal structure of Osaka, Japan in the 1720s. Within this culture, every individual was instilled the notion of familial obligation and had to adhere to the rules placed upon them by society. Chikamatsu Monzaemon does an ideal job of capturing these concepts within the play.

In Summary, with these three examples it is shown that the play and the movie contrast quite a bit. Most of the story line and the dialogue were very similar to the original story in the movie but some things were changed, possibly to shorten the story to be able to make

In the play roles and relationships were used to show the roles of each person and what their relationship towards each other was. For example when Namatjira was on stage at one time he was going side to side (moving on the spot) and changing his voice like at times he would make his voice deep sounding rough ish then h would make his voice soft ish showing us that he was playing more than one person. There was also audience participation because he was being comical with the audience like for example

To start with, in one of the scenes, Betty is yelling for her mother and starts screaming nonstop. This does not happen in the play for Betty never yells or screams in the play for she stays inert and pretends to be ill. Another difference would be with Reverend Parris for in the scene where he asks Abigail if her name is clean in the town , in the movie he slaps her while in the play he does not lay a single finger on her. In another scene where Tituba is accused of witchcraft, Reverend Parris only threatens to whip Tituba to death in the play, while in the movie he actually does whip her until she confesses to practicing witchcraft. The final character change in the movie would be that Abigail proves she falsely accused people of witchcraft because she loved John Proctor, unlike in the play where she shows she commits all this chaos due to lust. This can be shown by the scene in the movie where she goes to John Proctor while he is in prison and says that she has arranged everything for her to leave the town and for him to accompany her if he chooses to go with her. She would not have done this if it were just lust for she would not care so much for his life

Ever since, I wondered whether this impression was correct. The goal of this thesis is to satisfy this curiosity and to determine, through textual and visual analyses, if the 1986 television series also carries a Confucian message, or whether it was solely produced for entertainment purposes. This leads to the following research question:

"A Philosophy of Theater « " East of Mina. N.p., n.d. Web. 19 Jan. 2011.

In the novel Kokoro, Natsume Sōseki uses his character Sensei to represent how guilt can weigh too heavily on a person. Throughout the story, Sensei's interactions with the Narrator, both verbal and nonverbal occurrences, showcase how guilt leads to other negative emotional experiences, such as loneliness and misery. Sensei's internal struggle with guilt shapes the entirety of his adult life and the unfolding of the events in the book. This paper aims to show the implications that Sensei’s guilt has upon his life, especially his relationships with others.

He is well aware that his defense of Japan's tight society is subject to criticism, and at the end of his book he concedes the widespread corruption underlying so many Confucian societies, the diversity that makes overall judgments tricky and the racial homogeneity that may play a great part in enforcing Confucian harmony. But he sticks to his central thesis, fortified by his obviously pleasant recollections of living in Japan.

Atsumori is Nō drama from Japan. Nō drama was “originated as drama for the upper and samurai classes (the educated classes) and was heavily influenced by Buddhism” (Gibson). Atsumori has four characteristics of being Buddhist literature because Buddhist beliefs are woven into the drama, it talks about the afterlife of Atsumori, the focus “on the emotion of the character rather than the audience” (Gibson) and yugen.

The spectator of the play watches the Watchman watching Borachio while the latter narrates what he calls his tale relating how Claudio was inveigled into watching an artificial scene enacting Don John's fiction. Once again, what lies at the heart of this convoluted recursive machinery is a nothing (a nocturnal tryst between Hero and

In the essentially dual religious system in Japan, ideologies and traditions play a heavy role in the everyday life of the Japanese people. Shintoism and Buddhism intertwine and complement themselves in Japanese culture, despite Buddhism coming in from mainland Asia. A particularly powerful idea from Buddhism is mono no aware, the realization and acknowledgment of the impermanence and its place in the world. This idea that nothing stays the same forever manifests itself heavily in Japanese literature, whether in personal writings or fictional works. Despite spanning hundreds of years, each work was shaped by and include manifestations of mono no aware. I intend to underline and pinpoint instances that mono no aware is influencing these works, and discuss similarities and differences between them. In this paper, I have three works that I will explore, each one corresponding to a different time period before the pre-industrial revolution; The Diary of Lady Murasaki comes from the classical period, Essays in Idleness from the medieval, and the immensely popular play Chushingura from the pre-modern era.

In this paper, I will discuss three different works by Silko (Lullaby, Storyteller, and Yellow Woman). Each of the stories will be discussed according to plot, style, and social significance. After that, I will relate Silko’s work to other literary genies and analyze her work as a whole.

Matsukaze is one of the most popular Noh plays of the third category, originally written by Kan’ami and revised by Zeami Mototkiyo. Matsukaze tells the story of two lingering sister spirits, Matsukaze, which means Pine Wind, and Murasame, which means Autumn Rain. The play begins with a traveling priest asking about the memorial for the girls and we soon learn all about their life story. As with other Ancient Japanese Noh theatre, this play shows us one prevailing emotion throughout the text. The most noticeable emotion found in the text of Matsukaze is the overwhelming sense of melancholy. Through text and Japanese Noh conventions, I can convey the emotion of melancholy in Matsukaze.

They are the ritualization in Japanese culture, women’s implicit expression of love, women’s hierarchy in 18th Japan, and how the landscape of Japan influences the prosperity of Geisha culture.

Atsumori is definitely a type of Noh drama. In categorizing the type of Noh play, I think that the play, Atsumori, would be under the category of warrior play. I feel like this play just fits the criteria for a warrior play because the historical background started from a battle between two clans. Also, this play is mainly about two former warriors. This play is heavily based on suffering and Buddhism as well. I assume that Rensei becoming a monk majorly gives out the clue of Buddhism. I think the overall theme of this play would be forgiveness and kindness. I do not think this was a happy play at all. It seems very regretful for me. I am even imaging the chorus singing or playing the instruments in a sad melody throughout the play as well.