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*''Japanese'': 近江猿楽 ''(Oumi sarugaku)''
Ômi ''[[sarugaku]]'' was a form of medieval dance-drama performance, based in [[Omi province|Ômi province]], and rivalling in the late 14th to early 15th centuries the [[Yamato sarugaku|Yamato ''sarugaku'']] of [[Kan'ami]] and [[Zeami]]. In contrast to [[Yamato province|Yamato]] ''sarugaku'', which specialized in the art of ''monomane'' (imitation of characters), Ômi ''sarugaku'', led by [[Inuo|Inuô]] at that time, placed primary focus on the cultivation of an aesthetic mood of mysterious beauty known as ''[[yugen|yûgen]]'', and on creating artistic effect (''kakari'').
Zeami describes Ômi ''sarugaku'' extensively in his writings, describing his adoption and adaptation of various aspects of the Ômi style in order to better attune his own Yamato ''sarugaku'' to the more cultivated tastes of elite [[Kyoto]] audiences. These adaptations mark the transformation of Yamato ''sarugaku'' into the [[Noh]] theatre.
The privileging of ''yûgen'' is perhaps the most significant of the elements adopted by Zeami from the Ômi style at that time. Zeami also incorporated specific dances from the Ômi repertoire into his own, including that of the heavenly maiden (''tennyo no mai'', such as in the Noh play ''[[Hagoromo]]''), setting the stage for Noh to incorporate lengthier dramatic dance sections, something Yamato ''sarugaku'' had never done previously. These relatively lengthy dance sections are now a rather standard fixture in Noh, forming the second act of many two-act plays.
{{stub}}
==References==
*Shelley Fenno Quinn, ''Developing Zeami'', University of Hawaii Press (2005), 49-54.
[[Category:Muromachi Period]]
[[Category:Poetry and Theater]]
Ômi ''[[sarugaku]]'' was a form of medieval dance-drama performance, based in [[Omi province|Ômi province]], and rivalling in the late 14th to early 15th centuries the [[Yamato sarugaku|Yamato ''sarugaku'']] of [[Kan'ami]] and [[Zeami]]. In contrast to [[Yamato province|Yamato]] ''sarugaku'', which specialized in the art of ''monomane'' (imitation of characters), Ômi ''sarugaku'', led by [[Inuo|Inuô]] at that time, placed primary focus on the cultivation of an aesthetic mood of mysterious beauty known as ''[[yugen|yûgen]]'', and on creating artistic effect (''kakari'').
Zeami describes Ômi ''sarugaku'' extensively in his writings, describing his adoption and adaptation of various aspects of the Ômi style in order to better attune his own Yamato ''sarugaku'' to the more cultivated tastes of elite [[Kyoto]] audiences. These adaptations mark the transformation of Yamato ''sarugaku'' into the [[Noh]] theatre.
The privileging of ''yûgen'' is perhaps the most significant of the elements adopted by Zeami from the Ômi style at that time. Zeami also incorporated specific dances from the Ômi repertoire into his own, including that of the heavenly maiden (''tennyo no mai'', such as in the Noh play ''[[Hagoromo]]''), setting the stage for Noh to incorporate lengthier dramatic dance sections, something Yamato ''sarugaku'' had never done previously. These relatively lengthy dance sections are now a rather standard fixture in Noh, forming the second act of many two-act plays.
{{stub}}
==References==
*Shelley Fenno Quinn, ''Developing Zeami'', University of Hawaii Press (2005), 49-54.
[[Category:Muromachi Period]]
[[Category:Poetry and Theater]]
