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Created page with "*''Date: 1430/3'' *''Author: Zeami'' *''Japanese'': 摺動書 ''(shuudousho)'' ''Shûdôsho'', or "Learning the Profession," is one of a number of treatises on [[Noh]..."
*''Date: [[1430]]/3''
*''Author: [[Zeami]]''
*''Japanese'': 摺動書 ''(shuudousho)''
''Shûdôsho'', or "Learning the Profession," is one of a number of treatises on [[Noh]] performance by [[Zeami|Zeami Motokiyo]].
In the text, among many other topics, Zeami briefly discusses the Noh ''hayashi'', or musicians' ensemble. He explains that the ''hayashi'' should adjust their performance to suit the choices or style of the lead actor (''shite''). In particular, he suggests that the drummers should align themselves with the actor's spirit or mind (''kokoro''), and should play in accordance with the dance and the chant as a standard. Similarly, the flute player should adjust his pitch to best suit, or match, the voice of the actor.
{{stub}}
==References==
*Shelley Fenno Quinn, ''Developing Zeami'', University of Hawaii Press (2005), 135.
[[Category:Historical Documents]]
[[Category:Poetry and Theater]]
[[Category:Muromachi Period]]
*''Author: [[Zeami]]''
*''Japanese'': 摺動書 ''(shuudousho)''
''Shûdôsho'', or "Learning the Profession," is one of a number of treatises on [[Noh]] performance by [[Zeami|Zeami Motokiyo]].
In the text, among many other topics, Zeami briefly discusses the Noh ''hayashi'', or musicians' ensemble. He explains that the ''hayashi'' should adjust their performance to suit the choices or style of the lead actor (''shite''). In particular, he suggests that the drummers should align themselves with the actor's spirit or mind (''kokoro''), and should play in accordance with the dance and the chant as a standard. Similarly, the flute player should adjust his pitch to best suit, or match, the voice of the actor.
{{stub}}
==References==
*Shelley Fenno Quinn, ''Developing Zeami'', University of Hawaii Press (2005), 135.
[[Category:Historical Documents]]
[[Category:Poetry and Theater]]
[[Category:Muromachi Period]]