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Late Muromachi and Furyū Nō: Two Plays by Kanze Nagatoshi

Late Muromachi and Furyū Nō: Two Plays by Kanze Nagatoshi This paper looks at the late Muromachi <i>nō</i> playwright Kanze Nagatoshi, examining two of his plays, <i>Rinzō</i> (The Revolving Sutra Case) and <i>Ōyashiro</i> (The Great Shrine), structurally against the <i>Sandō</i> (The Three Paths), the great treatise on <i>nō</i> play composition written by Zeami Motokiyo, Nagatoshi’s great-uncle. In doing so it discusses both the original aspects of Nagatoshi’s style as well as its continued indebtedness to past playwrights and the classical tradition, exploring how the style had much to do with the changed demographic of the period and highlighting several factors that facilitated Nagatoshi’s move away from dependence on roles traditionally considered primary toward an embrace of roles usually consigned to secondary status. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Late Muromachi and Furyū Nō: Two Plays by Kanze Nagatoshi

Arkenstone, Quillon.
Asian Theatre Journal , Volume 30 (2) – Oct 14, 2013
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

This paper looks at the late Muromachi <i>nō</i> playwright Kanze Nagatoshi, examining two of his plays, <i>Rinzō</i> (The Revolving Sutra Case) and <i>Ōyashiro</i> (The Great Shrine), structurally against the <i>Sandō</i> (The Three Paths), the great treatise on <i>nō</i> play composition written by Zeami Motokiyo, Nagatoshi’s great-uncle. In doing so it discusses both the original aspects of Nagatoshi’s style as well as its continued indebtedness to past playwrights and the classical tradition, exploring how the style had much to do with the changed demographic of the period and highlighting several factors that facilitated Nagatoshi’s move away from dependence on roles traditionally considered primary toward an embrace of roles usually consigned to secondary status.

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Oct 14, 2013

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