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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''.
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''.
In contrast to those of Nobumitsu, the plays of Zenpô and Nagatoshi have not remained popular down through the ages, and many have fallen out of the repertoire. Beng Choo Lim credits this to their experimental nature, and deviation from the subtle and contemplative aesthetic of earlier Noh, which retained, or regained, orthodox status in later periods.<ref>Lim, 49n19.</ref>
==Plays==
==Plays==
*''[[Ikuta Atsumori]]''
*''[[Ikuta Atsumori]]''
*''[[Kurokawa]]''
*''[[Kurokawa]]''
*''[[Nodera]]''
*''[[Tobosaku|Tôbôsaku]]''
*''[[Tobosaku|Tôbôsaku]]''
*''[[Yakamochi]]''
==Selected Works==
==Selected Works==
==References==
==References==
*Beng Choo Lim, "Performing Furyû Nô: The Theatre of Konparu Zenpô," ''Asian Theatre Journal'' 22:1 (2005), 33-51.
*Beng Choo Lim, "Performing Furyû Nô: The Theatre of Konparu Zenpô," ''Asian Theatre Journal'' 22:1 (2005), 33-51.
<references/>
[[Category:Muromachi Period]]
[[Category:Muromachi Period]]
[[Category:Artists and Artisans]]
[[Category:Artists and Artisans]]
[[Category:Poetry and Theater]]
[[Category:Poetry and Theater]]