Volume 1 Preface Notes to Readers List of Illustrations Notes on Contributors Introducing No and Kyogen Tom Hare and Yamanaka Reiko 1 The History of No Edited by Eike Grossmann and Miyamoto Keizo 1.1 The Origins of No, Sangaku , and Sarugaku until the Fourteenth Century ( Eike Grossmann and Miyamoto Keizo ) 1.2 The Emergence of "No" and the Formation of Performers'' Organizations during the Fourteenth and Fifteenth Centuries ( Eike Grossmann and Miyamoto Keizo ) 1.3 No in Kyoto and Its Dispersion during the Fifteenth and Sixteenth Centuries ( Eike Grossmann and Miyamoto Keizo ) 1.4 No in the Age of Exploration ( Patrick Schwemmer ) 1.5 No and Political Leaders from the Late Sixteenth to the Early Eighteenth Century ( Eike Grossmann and Miyamoto Keizo ) 1.6 No Practices and No Culture during the Seventeenth and Eighteenth Centuries ( Eike Grossmann and Miyamoto Keizo ) 1.7 The Reorganization and Standardization of No Practices during the Eighteenth and Nineteenth Centuries ( Eike Grossmann and Miyamoto Keizo ) 1.

8 The Crisis of No at the End of the Nineteenth and the Early Twentieth Centuries ( Eike Grossmann and Miyamoto Keizo ) 1.9 No from World War I until the 1980s ( Eike Grossmann and Miyamoto Keizo ) References2 No Performance Edited by Monica Bethe and Diego Pellecchia 2.1 Fundamentals of No Performance ( Monica Bethe ) 2.2 The Stage ( Monica Bethe, Yamanaka Reiko, and Diego Pellecchia ) 2.3 Performance Conventions ( Monica Bethe ) 2.4 Movement ( Monica Bethe with Diego Pellecchia ) 2.5 Music ( Takakuwa Izumi with Monica Bethe ) 2.6 The History of No Chant ( Takakuwa Izumi with Monica Bethe ) 2.

7 Shodan : the Building Blocks of No ( Monica Bethe and Takakuwa Izumi ) 2.8 Masks ( Monica Bethe ) 2.9 Costumes ( Monica Bethe ) 2.10 No Fans ( Diego Pellecchia ) 2.11 Properties ( Monica Bethe ) 2.12 Interpreting Conventions for Standard and Variant Performances ( Yamanaka Reiko ) 2.13 Underlying Principles of No Dramaturgy ( Monica Bethe ) References3 Training, Practice, and Production Edited by Diego Pellecchia and Yamanaka Reiko 3.1 Introduction ( Diego Pellecchia and Yamanaka Reiko ) 3.

2 Training ( Diego Pellecchia and Yamanaka Reiko ) 3.3 Female Performers in No ( Barbara Geilhorn ) 3.4 Practice and Production ( Diego Pellecchia and Yamanaka Reiko ) 3.5 The Role of Amateur Practitioners ( Diego Pellecchia and Yamanaka Reiko ) 3.6 Kurokawa No ( Eike Grossmann ) 3.7 Recent Developments and Future Perspectives ( Diego Pellecchia and Yamanaka Reiko ) References4 Plays: Their Conventions and Backgrounds Edited by Tom Hare, Takeuchi Akiko, Michael Watson, and Yamanaka Reiko 4.1 Introduction ( Takeuchi Akiko ) 4.2 Categories of No Plays ( Yamanaka Reiko ) 4.

3 Sources of No Plays ( Takeuchi Akiko ) 4.4 No and Its Belief Systems ( Tom Hare and Takahashi Yusuke ) 4.5 Reading No: Mugen no and Genzai no ( Monogurui no ) ( Yamanaka Reiko ) 4.6 Aspects of Time and Character Relations ( Paul S. Atkins ) 4.7 Stylistics and Poetics ( Takeuchi Akiko ) 4.8 Narration and Ambiguous Voice ( Takeuchi Akiko ) 4.9 Religious and Political Allegory in No ( Susan Blakeley Klein ) 4.

10 Medieval Commentaries and No Theatre ( Susan Blakeley Klein ) 4.11 Bangai kyoku and Shinsaku no : Noncanonical Plays and Modern No Plays ( Fukazawa Nozomi and Takeuchi Akiko ) 4.12 Conclusion ( Takeuchi Akiko ) 4.13 Excursus: Dramaturgy in No and Greek Tragedy ( Mae J. Smethurst ) References5 Authors Edited by Tom Hare and Yamanaka Reiko 5.1 Introduction ( Tom Hare and Yamanaka Reiko ) 5.2 Kan''ami ( Tom Hare and Yamanaka Reiko ) 5.3 Zeami ( Tom Hare and Yamanaka Reiko ) 5.

4 Motomasa ( Tom Hare and Yamanaka Reiko ) 5.5 Zenchiku ( Tom Hare and Takahashi Yusuke ) 5.6 Nobumitsu ( Ikai Takamitsu and Lim Beng Choo ) 5.7 Nagatoshi ( Ikai Takamitsu and Lim Beng Choo ) 5.8 Zenpo ( Ikai Takamitsu and Lim Beng Choo ) 5.9 Miyamasu ( Ikai Takamitsu and Lim Beng Choo ) 5.10 Amateurs ( Ikai Takamitsu and Lim Beng Choo ) ReferencesVolume 26 Treatises and Criticism Edited by Tamamura Kyo and Shelley Fenno Quinn 6.1 Introduction ( Tamamura Kyo ) 6.

2 Zeami''s Treatises: an Overview ( Shelley Fenno Quinn ) 6.3 Zeami as Philosopher: Who Makes the Flower Bloom? ( Tamamura Kyo ) 6.4 Zenchiku''s Treatises and Criticism ( Takahashi Yusuke ) 6.5 Konparu Zenpo''s Treatises and Criticism ( Ikai Takamitsu ) 6.6 No Treatises from the Late Muromachi to Edo Periods ( Miyamoto Keizo ) 6.7 Modern Theories of No ( Yokoyama Taro ) References7 Material Culture of No and Kyogen Edited by Eike Grossmann 7.1 Introduction ( Eike Grossmann ) 7.2 The Production of Costumes, Masks, and Fans ( Monica Bethe ) 7.

3 The Transmission of Masks: Carvers and Their Lineages ( Adam Zollinger ) 7.4 Instruments: Artistic Value and Development of Their Forms ( Takakuwa Izumi ) 7.5 Performance Spaces: History and Materiality of the No Stage ( Miyamoto Keizo ) 7.6 Tsuke : Notes on Movements, Gestures, Music, and Stage Properties ( Fukazawa Nozomi, Nakatsuka Yukiko, and Yamanaka Reiko ) 7.7 Utaibon for Amateurs and Connoisseurs ( Ikai Takamitsu ) 7.8 No and Kyogen Illustrations ( Monica Bethe ) 7.9 No and Kyogen Prints and Paintings in Modern Japan ( Richard Smethurst ) 7.10 No Culture in Everyday Life: Koutaibon , Sugoroku , Karuta , Yubimen , Netsuke , and No Ningyo ( Eike Grossmann ) References8 Reception Edited by Diego Pellecchia and Yokoyama Taro 8.

1 Introduction ( Yokoyama Taro ) 8.2 Reception of No in the Late Nineteenth and Early Twentieth Centuries ( Diego Pellecchia ) 8.3 No and Modernism ( Diego Pellecchia and Takeuchi Akiko ) 8.4 Nogaku and Film ( Kodama Ryuichi ) 8.5 No and Contemporary Theatre Abroad and in Japan ( Diego Pellecchia and Yokoyama Taro ) 8.6 Why Not No? ( Reginald Jackson and Yokoyama Taro ) 8.7 Nogaku and Kabuki ( Kodama Ryuichi ) References9 Kyogen Edited by Monica Bethe 9.1 Introduction ( Monica Bethe ) 9.

2 Plays, Plots, and Role Types ( Jonah Salz ) 9.3 Dramaturgy ( Jonah Salz ) 9.4 Costumes and Masks ( Monica Bethe ) 9.5 Organization, Training, and Creativity ( Jonah Salz ) 9.6 History ( Monica Bethe ) 9.7 The Evolution of Texts ( Taguchi Kazuo ) 9.8 Discourses ( Taguchi Kazuo ) 9.9 Sagi kyogen ( Alex Rogals ) 9.

10 Women in Kyogen ( Barbara Geilhorn ) 9.11 Inspiration, Fusion, and Form: Kyogen outside Japan ( Ondrej Hýbl ) References10 Research Overview Edited by Yamanaka Reiko, Tom Hare, and Michael Watson 10.1 Introduction ( Yamanaka Reiko ) 10.2 Research into No before the Meiji Period ( Yamanaka Reiko ) 10.3 No Scholarship from the Meiji, Taisho, and Showa Periods to World War II ( Tom Hare and Yamanaka Reiko ) 10.4 Postwar Studies of No ( Yamanaka Reiko ) 10.5 The History of No Research and Translations in Western Languages: French, Italian, German, and English ( Diego Pellecchia, Eike Grossmann, and Tom Hare ) References11 Appendices 11.1 Finding List for No Texts ( Michael Watson ) 11.

2 Summaries of No Plays ( Nakatsuka Yukiko and Michael Watson, with contributions by Fukazawa Nozomi, Inoue Megumi, Hana Lethen, Pia Schmitt, Patrick Schwemmer, and Tomiyama Takahiro ) 11.3 Summaries of Kyogen Plays ( Monica Bethe ) References ( Michael Watson ) Glossary Index.