Changes

In the Three Paths, Zeami discusses three key aspects of playwriting, beginning with the types of characters that make for the best Noh pieces, then discussing rhythmic and narrative aspects of the structure of the plot, before finishing with a discussion of the composition of the language, i.e. the lines chanted onstage.

In the Three Paths, Zeami discusses three key aspects of playwriting, beginning with the types of characters that make for the best Noh pieces, then discussing rhythmic and narrative aspects of the structure of the plot, before finishing with a discussion of the composition of the language, i.e. the lines chanted onstage.

[[Shelley Fenno Quinn]] translates the first of the three paths, ''shu'', as "material," but points out the [[kanji|character]] more literally means "seed" or "kernel." In this section, Zeami suggests that since a ''shite'' actor's performance consists chiefly of song/chant (''utai'') and dance (''mai''), a ''shite'' role inclined towards literary qualities is ideal for making it easier for the actor to achieve an effect of grace and ''yûgen''. To that end, he suggests four categories of ideal figures: ''hôka'' entertainers, ''[[kagura]]'' performers, and men and women associated with the arts.

[[Shelley Fenno Quinn]] translates the first of the three "paths," ''shu'', as "material," but points out the [[kanji|character]] more literally means "seed" or "kernel." In this section, Zeami suggests that since a ''shite'' actor's performance consists chiefly of song/chant (''utai'') and dance (''mai''), a ''shite'' role inclined towards literary qualities is ideal for making it easier for the actor to achieve an effect of grace and ''yûgen''. To that end, he suggests four categories of ideal figures: ''hôka'' entertainers, ''[[kagura]]'' performers, and men and women associated with the arts.

 

The second of the three "paths" is structure, or ''saku''. In this section, Zeami discusses the organization of a play in terms of overall rhythm and pacing, and use of vocal and dance elements. He describes a five-step development process for organizing plays based on the fundamental principle of ''[[jo-ha-kyu|jo-ha-kyû]]'', outlining his ideal structure of a five-''dan'' (five part) Noh play.<ref>This is discussed further in the article on ''[[jo-ha-kyu|jo-ha-kyû]]''.</ref> He also emphasizes that a playwright must not only take ''jo-ha-kyû'' as a guideline for his own organization of the play, but must also take care to design a play such that the performers can employ the principle in their performance.

==Three Styles==

==Three Styles==