Changes

Zeami claimed that the origins of ''sarugaku'' could be traced to ''[[kagura]]'' ([[Shinto]] ritual dances). He also drew upon [[Book of Poetry|Chinese poetry theory]]<!--Shijing 詩經-->, ''[[gagaku]]'' musical theory, ''[[dengaku]]'' performance, and numerous other sources in explaining the origins of his Yamato ''sarugaku'' tradition, or in adopting elements from these outside sources in altering and developing Yamato ''sarugaku'' into the early form of Noh.

Zeami claimed that the origins of ''sarugaku'' could be traced to ''[[kagura]]'' ([[Shinto]] ritual dances). He also drew upon [[Book of Poetry|Chinese poetry theory]]<!--Shijing 詩經-->, ''[[gagaku]]'' musical theory, ''[[dengaku]]'' performance, and numerous other sources in explaining the origins of his Yamato ''sarugaku'' tradition, or in adopting elements from these outside sources in altering and developing Yamato ''sarugaku'' into the early form of Noh.

Yamato ''sarugaku'', in the time of Kan'ami and Zeami, specialized in ''monomane'' - imitation or mimicry of characters or character types. As Zeami sought to adapt his art to make it more appealing to cultivated elite Kyoto audiences, he struggled to maintain this strength while incorporating elements such as the Ômi ''sarugaku'' focus on cultivating a mood or atmosphere of mysterious beauty (''yûgen''). Through the incoporation of various elements from Ômi ''sarugaku'', ''kusemai'', and other art forms, as well as other innovations, Zeami developed Yamato ''sarugaku'' into a form featuring lengthier narratives and deeper themes, blending ''monomane'' with ''yûgen'' and other aesthetics to achieve an artistic effect (''kakari'') and deeper aesthetic impact.

Zeami worked to gain the approval and patronage of Kyoto elites, believing that the fame or prestige earned in this manner was crucial to attaining fame and success in the countryside.<ref>[[Eiko Ikegami]], ''Bonds of Civility'', Cambridge University Press (2005), 110.</ref> Yamato ''sarugaku'', in the time of Kan'ami and Zeami, specialized in ''monomane'' - imitation or mimicry of characters or character types. As Zeami sought to adapt his art to make it more appealing to cultivated elite Kyoto audiences, he struggled to maintain this strength while incorporating elements such as the Ômi ''sarugaku'' focus on cultivating a mood or atmosphere of mysterious beauty (''yûgen''). Through the incoporation of various elements from Ômi ''sarugaku'', ''kusemai'', and other art forms, as well as other innovations, Zeami developed Yamato ''sarugaku'' into a form featuring lengthier narratives and deeper themes, blending ''monomane'' with ''yûgen'' and other aesthetics to achieve an artistic effect (''kakari'') and deeper aesthetic impact.

''Kyôgen'' pieces, which today typically serve as the comic interlude between acts of a Noh play, are known to have been performed alongside ''sarugaku''/Noh (i.e. on the same program) since at least the mid-14th century. Ever since then, they have become closely intertwined, and have developed to a certain extent in parallel.<ref>Tsubaki, 301.</ref>

''Kyôgen'' pieces, which today typically serve as the comic interlude between acts of a Noh play, are known to have been performed alongside ''sarugaku''/Noh (i.e. on the same program) since at least the mid-14th century. Ever since then, they have become closely intertwined, and have developed to a certain extent in parallel.<ref>Tsubaki, 301.</ref>