Courtly Women of Japan & Noh Theater

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Historical Perspective

 1) 2) The works of Japanese court women writers comprise a range of exceptional women’s literature unmatched anywhere in the medieval world.

Why? Women wrote in Japanese vernacular script.

Women were important ways for men to gain power at court (traditional use of daughters to create relationships between men, clans, etc.)

2) 3)

4) 5)

Genre Hierarchy

1) Buddhist scriptures & Confucian texts (such as the Book of Songs) Chinese genre of history Chinese genre of poetry Waka (Japanese classical poetry)* Monogatari (tales or prose fiction)* Women wrote in the 4th and 5th categories.

Script & Genre Hierarchy

  The 3 highest status genres were written in the ‘man’s hand’ - otoko-de (Chinese prose). These texts were written on large sheets of new, thick paper, and were signed by the authors.

The bottom 2 were in kana, the vernacular syllabary, or the ‘woman’s hand’ (onna-de). These texts were written on small pieces of paper, often recycled wastepaper or on the backs of used documents, and were unsigned.

The Pillow Book

    Author: Sei Shonagon Culture: Japanese Genre: occasional writing [meanderings of the brush, zuihitsu] Embodies aristocratic values: “enjoyment of beauty as a primal experience” [importance of aesthetics]

Sei Shonagon

    Served as a lady-in-waiting to the Japanese royal court (empress); well-educated in Chinese literature.

An aristocrat, she reflects the values of her class.

She emphasizes mood, fugitive experience, & momentary sensory impressions. Her realistic depiction often shades into comedy because of her quick wit, much valued at court.

Her voice: realism expressed through exquisite lyricism.

Cult of Beauty & Style

  Judgments of quality and standards of taste were the approximate level of a moral code.

Rules of refinement prescribe a restrained cultivation of feeling, a responsiveness to the emotional environment, along with a physical grace and a genuine appreciation of shape, proportion, color, and tone.  She with her highly trained eye can make very subtle distinctions.

The Nature of Reality?

  She seems confident that appearance matches reality.

She is often praised for her insight into human conduct. Think of the portraits she paints of those around her.

Noh Plays

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Grew from court music, popular entertainment, and religion! Are a fusion of the arts [drama, music, dance] Illustrate Buddhist doctrine that human salvation is achieved through prayer and penance Shinto temple architecture is reflected in Noh stage

Noh Characters

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Shite- “Doer”; central figure; usually an aristocrat, a court lady, or a powerful spirit; dominates the performance; dances the big dance; generally masked Waki- supporting role; most often a priest who initiates the play’s action (not the antagonist) Tsure- attendant, courtier, maid Kokata- Noble child Tomo- Other minor roles Kyogen- Comic actors, villagers, common people

Conventions of Noh Plays

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Same stage every time, with specific stations (See diagram next slide) Bare stage Few props Bridge (pathway) Mask ( worn by Shite) Specific character types Music for mood (orchestra) Specific walks, etc. Chorus All men

Order of Performance

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1) Orchestra enters 2) Chorus enters 3) Waki crosses bridge, travelling song; Waki goes to Waki pillar 4) Shite enters; song stating theme of play 5) Waki converses with Shite; asks Shite to tell tale 6) Shite tells tale; story & dance 7) Kyogen or lower character recaps story 8) Shite returns in new costume, often with new identity; tempo increases; performance peaks in dance