Difference between revisions of "Konparu Zenpo"
(Created page with "*''Born: 1454'' *''Died: 1532?'' *''Other Names'': 金春八郎元安 ''(Konparu Hachirou Motoyasu, or Konparu Hachirou Gen'an)'' *''Japanese'': 金春禅鳳 ''(Ko...") |
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*''Japanese'': [[金春]]禅鳳 ''(Konparu Zenpou)'' | *''Japanese'': [[金春]]禅鳳 ''(Konparu Zenpou)'' | ||
| − | Konparu Zenpô was a [[Noh]] actor and playwright, the third head of the [[Konparu school]] of Noh. He is known chiefly as the pioneer of ''furyû Noh'', a form emphasizing dramatic tension and visual effects over the intrinsic aesthetics of form and lyrics emphasized by Zeami. | + | Konparu Zenpô was a [[Noh]] actor and playwright, the third head of the [[Konparu school]] of Noh. He is known chiefly as the pioneer of ''[[Furyu Noh|furyû Noh]]'', a form emphasizing dramatic tension and visual effects over the intrinsic aesthetics of form and lyrics emphasized by Zeami. |
This style is visible in his plays, five of which remain in the active repertoire today, and in his treatises on drama. Zenpô is also known to have been quite active in the elite cultural circles of his time, participating in ''[[renga]]'' poetry, ''[[kemari]]'', incense competitions, [[tea ceremony]], and ''[[ikebana]]''. | This style is visible in his plays, five of which remain in the active repertoire today, and in his treatises on drama. Zenpô is also known to have been quite active in the elite cultural circles of his time, participating in ''[[renga]]'' poetry, ''[[kemari]]'', incense competitions, [[tea ceremony]], and ''[[ikebana]]''. | ||
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Zenpô was the grandson of [[Konparu Zenchiku]], founder of the Konparu school, and son-in-law to [[Zeami|Zeami Motokiyo]], who is generally credited with being the founder of Noh. He is said to have made his stage debut alongside Zenchiku. | Zenpô was the grandson of [[Konparu Zenchiku]], founder of the Konparu school, and son-in-law to [[Zeami|Zeami Motokiyo]], who is generally credited with being the founder of Noh. He is said to have made his stage debut alongside Zenchiku. | ||
| − | His plays tend to include greater dramatic tension, slightly larger casts, and more elaborate sets than earlier Noh plays; their plots also feature livelier action and less contemplative or emotional introspection. The [[Kanze school]] plays of his contemporaries [[Kanze Nagatoshi]] and [[Kanze Nobumitsu]] feature many of these same elements. | + | His plays tend to include greater dramatic tension, slightly larger casts, and more elaborate sets than earlier Noh plays; their plots also feature livelier action and less contemplative or emotional introspection. The [[Kanze school]] plays of his contemporaries [[Kanze Nagatoshi]] and [[Kanze Nobumitsu]] feature many of these same elements. Scholars began in the 1960s to call this form ''furyû Noh''. |
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*''[[Ikkaku Sennin]]'' | *''[[Ikkaku Sennin]]'' | ||
*''[[Ikuta Atsumori]]'' | *''[[Ikuta Atsumori]]'' | ||
| + | *''[[Kurokawa]]'' | ||
*''[[Tobosaku|Tôbôsaku]]'' | *''[[Tobosaku|Tôbôsaku]]'' | ||
Revision as of 22:49, 27 February 2014
- Born: 1454
- Died: 1532?
- Other Names: 金春八郎元安 (Konparu Hachirou Motoyasu, or Konparu Hachirou Gen'an)
- Japanese: 金春禅鳳 (Konparu Zenpou)
Konparu Zenpô was a Noh actor and playwright, the third head of the Konparu school of Noh. He is known chiefly as the pioneer of furyû Noh, a form emphasizing dramatic tension and visual effects over the intrinsic aesthetics of form and lyrics emphasized by Zeami.
This style is visible in his plays, five of which remain in the active repertoire today, and in his treatises on drama. Zenpô is also known to have been quite active in the elite cultural circles of his time, participating in renga poetry, kemari, incense competitions, tea ceremony, and ikebana.
Life and Career
Zenpô was the grandson of Konparu Zenchiku, founder of the Konparu school, and son-in-law to Zeami Motokiyo, who is generally credited with being the founder of Noh. He is said to have made his stage debut alongside Zenchiku.
His plays tend to include greater dramatic tension, slightly larger casts, and more elaborate sets than earlier Noh plays; their plots also feature livelier action and less contemplative or emotional introspection. The Kanze school plays of his contemporaries Kanze Nagatoshi and Kanze Nobumitsu feature many of these same elements. Scholars began in the 1960s to call this form furyû Noh.
Plays
Selected Works
- Môtanshichinshô ("The Môtan Collection")
- Hogoura no sho ("Notes on the Back of Used Papers")
- Zenpô Sarugaku Dangi ("Zenpô's Conversations on Sarugaku")
- Zenpô Zôtan ("Misc. Comments by Zenpô", compiled posthumously by his disciples)
References
- Beng Choo Lim, "Performing Furyû Nô: The Theatre of Konparu Zenpô," Asian Theatre Journal 22:1 (2005), 33-51.
