Transcript Japanese Courtly Women

Courtly Women of Japan
& Noh Theater
Historical Perspective
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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.)
Genre Hierarchy
1)
2)
3)
4)
5)
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
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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
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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
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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
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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.
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She with her highly
trained eye can make very subtle
distinctions.
The Nature of Reality?
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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
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
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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