Database: Noh Theater - Revision history

Batfan13 at 04:01, 6 May 2026

2026-05-06T04:01:36Z

← Older revision		Revision as of 06:01, 6 May 2026
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			[[File:ACSH DB Noh Theater.png\|thumb\|250px]]
	{{Wiki\|Noh}} Theater was born during the 14th century from the evolution of various forms of performance including sung, recited, or danced dramas. These performances took place during ceremonies to delight and thank the deities. Therefore, they were initially religious performances. These genres mixed and gave birth to true theater, under the impetus of playwrights and genius actors, {{Wiki\|ja:観阿弥\|Kan'ami}} (1333–1384)—known by his stage name Kanze I—and especially his son [[Zeami Motokiyo\|Zeami]] (1363-1443)—known by his stage name Kanze II—who innovated by introducing narrative. These were widely attended provincial shows put on by traveling entertainers, despised for their lower status, who took part in this [[Middle Ages\|medieval]] religiosity expressed in villages and small towns, particularly in the {{Wiki\|Kinai}} region. This new theater type fascinated the [[shōgun]] and the [[Daimyō\|great lords]] who patronized Noh troupes. Performances were given in [[Kyoto]], in provincial towns, and in front of [[temple]]s and shrines. Besides the new quality of the proposed performance, success came from the creation of a new culture that integrated the capital and the villages, it was the world of the {{Wiki\|Imperial Court in Kyoto\|court}} but also [[merchant]]s, peasants, and even outcasts. In the staging of dramatic situations, Zeami created such intensity that the spectator, seized by intense emotion, must be nailed to the spot. This is what he calls "the Flower" that captivates the audience, an elusive and often ephemeral element that he explains in a theoretical collection, {{Wiki\|ja:風姿花伝\|Fūshikaden}}, "the transmission of the Flower."		{{Wiki\|Noh}} Theater was born during the 14th century from the evolution of various forms of performance including sung, recited, or danced dramas. These performances took place during ceremonies to delight and thank the deities. Therefore, they were initially religious performances. These genres mixed and gave birth to true theater, under the impetus of playwrights and genius actors, {{Wiki\|ja:観阿弥\|Kan'ami}} (1333–1384)—known by his stage name Kanze I—and especially his son [[Zeami Motokiyo\|Zeami]] (1363-1443)—known by his stage name Kanze II—who innovated by introducing narrative. These were widely attended provincial shows put on by traveling entertainers, despised for their lower status, who took part in this [[Middle Ages\|medieval]] religiosity expressed in villages and small towns, particularly in the {{Wiki\|Kinai}} region. This new theater type fascinated the [[shōgun]] and the [[Daimyō\|great lords]] who patronized Noh troupes. Performances were given in [[Kyoto]], in provincial towns, and in front of [[temple]]s and shrines. Besides the new quality of the proposed performance, success came from the creation of a new culture that integrated the capital and the villages, it was the world of the {{Wiki\|Imperial Court in Kyoto\|court}} but also [[merchant]]s, peasants, and even outcasts. In the staging of dramatic situations, Zeami created such intensity that the spectator, seized by intense emotion, must be nailed to the spot. This is what he calls "the Flower" that captivates the audience, an elusive and often ephemeral element that he explains in a theoretical collection, {{Wiki\|ja:風姿花伝\|Fūshikaden}}, "the transmission of the Flower."
	[[Category:Animus EGO database entries]]		[[Category:Animus EGO database entries]]
	[[Category:Database: Music and Arts]]		[[Category:Database: Music and Arts]]
	{{DEFAULTSORT:Noh Theater}}		{{DEFAULTSORT:Noh Theater}}

imported>Soranin at 19:34, 21 June 2025

2025-06-21T19:34:39Z

← Older revision		Revision as of 21:34, 21 June 2025
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	~~{{Spoilerhd\|20 June 2025\|[[Assassin's Creed: Shadows]]}}~~
	{{Wiki\|Noh}} Theater was born during the 14th century from the evolution of various forms of performance including sung, recited, or danced dramas. These performances took place during ceremonies to delight and thank the deities. Therefore, they were initially religious performances. These genres mixed and gave birth to true theater, under the impetus of playwrights and genius actors, {{Wiki\|ja:観阿弥\|Kan'ami}} (1333–1384)—known by his stage name Kanze I—and especially his son [[Zeami Motokiyo\|Zeami]] (1363-1443)—known by his stage name Kanze II—who innovated by introducing narrative. These were widely attended provincial shows put on by traveling entertainers, despised for their lower status, who took part in this [[Middle Ages\|medieval]] religiosity expressed in villages and small towns, particularly in the {{Wiki\|Kinai}} region. This new theater type fascinated the [[shōgun]] and the [[Daimyō\|great lords]] who patronized Noh troupes. Performances were given in [[Kyoto]], in provincial towns, and in front of [[temple]]s and shrines. Besides the new quality of the proposed performance, success came from the creation of a new culture that integrated the capital and the villages, it was the world of the {{Wiki\|Imperial Court in Kyoto\|court}} but also [[merchant]]s, peasants, and even outcasts. In the staging of dramatic situations, Zeami created such intensity that the spectator, seized by intense emotion, must be nailed to the spot. This is what he calls "the Flower" that captivates the audience, an elusive and often ephemeral element that he explains in a theoretical collection, {{Wiki\|ja:風姿花伝\|Fūshikaden}}, "the transmission of the Flower."		{{Wiki\|Noh}} Theater was born during the 14th century from the evolution of various forms of performance including sung, recited, or danced dramas. These performances took place during ceremonies to delight and thank the deities. Therefore, they were initially religious performances. These genres mixed and gave birth to true theater, under the impetus of playwrights and genius actors, {{Wiki\|ja:観阿弥\|Kan'ami}} (1333–1384)—known by his stage name Kanze I—and especially his son [[Zeami Motokiyo\|Zeami]] (1363-1443)—known by his stage name Kanze II—who innovated by introducing narrative. These were widely attended provincial shows put on by traveling entertainers, despised for their lower status, who took part in this [[Middle Ages\|medieval]] religiosity expressed in villages and small towns, particularly in the {{Wiki\|Kinai}} region. This new theater type fascinated the [[shōgun]] and the [[Daimyō\|great lords]] who patronized Noh troupes. Performances were given in [[Kyoto]], in provincial towns, and in front of [[temple]]s and shrines. Besides the new quality of the proposed performance, success came from the creation of a new culture that integrated the capital and the villages, it was the world of the {{Wiki\|Imperial Court in Kyoto\|court}} but also [[merchant]]s, peasants, and even outcasts. In the staging of dramatic situations, Zeami created such intensity that the spectator, seized by intense emotion, must be nailed to the spot. This is what he calls "the Flower" that captivates the audience, an elusive and often ephemeral element that he explains in a theoretical collection, {{Wiki\|ja:風姿花伝\|Fūshikaden}}, "the transmission of the Flower."
	[[Category:Animus EGO database entries]]		[[Category:Animus EGO database entries]]
	[[Category:Database: Music and Arts]]		[[Category:Database: Music and Arts]]
	{{DEFAULTSORT:Noh Theater}}		{{DEFAULTSORT:Noh Theater}}

imported>Soranin at 02:48, 6 June 2025

2025-06-06T02:48:47Z

← Older revision		Revision as of 04:48, 6 June 2025
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	{{Spoilerhd\|20 June 2025\|[[Assassin's Creed: Shadows]]}}		{{Spoilerhd\|20 June 2025\|[[Assassin's Creed: Shadows]]}}
	{{Wiki\|Noh}} Theater was born during the 14th century from the evolution of various forms of performance including sung, recited, or danced dramas. These performances took place during ceremonies to delight and thank the deities. Therefore, they were initially religious performances. These genres mixed and gave birth to true theater, under the impetus of playwrights and genius actors, {{Wiki\|ja:観阿弥\|Kan'ami}} (1333–1384)—known by his stage name Kanze I—and especially his son ~~{{Wiki\|~~Zeami Motokiyo\|Zeami}} (1363-1443)—known by his stage name Kanze II—who innovated by introducing narrative. These were widely attended provincial shows put on by traveling entertainers, despised for their lower status, who took part in this [[Middle Ages\|medieval]] religiosity expressed in villages and small towns, particularly in the {{Wiki\|Kinai}} region. This new theater type fascinated the [[shōgun]] and the [[Daimyō\|great lords]] who patronized Noh troupes. Performances were given in [[Kyoto]], in provincial towns, and in front of [[temple]]s and shrines. Besides the new quality of the proposed performance, success came from the creation of a new culture that integrated the capital and the villages, it was the world of the {{Wiki\|Imperial Court in Kyoto\|court}} but also [[merchant]]s, peasants, and even outcasts. In the staging of dramatic situations, Zeami created such intensity that the spectator, seized by intense emotion, must be nailed to the spot. This is what he calls "the Flower" that captivates the audience, an elusive and often ephemeral element that he explains in a theoretical collection, {{Wiki\|ja:風姿花伝\|Fūshikaden}}, "the transmission of the Flower."		{{Wiki\|Noh}} Theater was born during the 14th century from the evolution of various forms of performance including sung, recited, or danced dramas. These performances took place during ceremonies to delight and thank the deities. Therefore, they were initially religious performances. These genres mixed and gave birth to true theater, under the impetus of playwrights and genius actors, {{Wiki\|ja:観阿弥\|Kan'ami}} (1333–1384)—known by his stage name Kanze I—and especially his son [[Zeami Motokiyo\|Zeami]] (1363-1443)—known by his stage name Kanze II—who innovated by introducing narrative. These were widely attended provincial shows put on by traveling entertainers, despised for their lower status, who took part in this [[Middle Ages\|medieval]] religiosity expressed in villages and small towns, particularly in the {{Wiki\|Kinai}} region. This new theater type fascinated the [[shōgun]] and the [[Daimyō\|great lords]] who patronized Noh troupes. Performances were given in [[Kyoto]], in provincial towns, and in front of [[temple]]s and shrines. Besides the new quality of the proposed performance, success came from the creation of a new culture that integrated the capital and the villages, it was the world of the {{Wiki\|Imperial Court in Kyoto\|court}} but also [[merchant]]s, peasants, and even outcasts. In the staging of dramatic situations, Zeami created such intensity that the spectator, seized by intense emotion, must be nailed to the spot. This is what he calls "the Flower" that captivates the audience, an elusive and often ephemeral element that he explains in a theoretical collection, {{Wiki\|ja:風姿花伝\|Fūshikaden}}, "the transmission of the Flower."
	[[Category:Animus EGO database entries]]		[[Category:Animus EGO database entries]]
	[[Category:Database: Music and Arts]]		[[Category:Database: Music and Arts]]
	{{DEFAULTSORT:Noh Theater}}		{{DEFAULTSORT:Noh Theater}}

imported>Darman36: JP WP has more info on Kan'ami than ENG

2025-05-27T01:40:09Z

JP WP has more info on Kan'ami than ENG

← Older revision		Revision as of 03:40, 27 May 2025
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	{{Spoilerhd\|20 June 2025\|[[Assassin's Creed: Shadows]]}}		{{Spoilerhd\|20 June 2025\|[[Assassin's Creed: Shadows]]}}
	Noh Theater was born during the 14th century from the evolution of various forms of performance including sung, recited, or danced dramas. These performances took place during ceremonies to delight and thank the deities. Therefore, they were initially religious performances. These genres mixed and gave birth to true theater, under the impetus of playwrights and genius actors, Kan'ami (~~1333-1384~~) ~~- known~~ by his stage name Kanze ~~I - and~~ especially his son Zeami (1363-1443) ~~- known~~ by his stage name Kanze ~~II - who~~ innovated by introducing narrative. These were widely attended provincial shows put on by traveling entertainers, despised for their lower status, who took part in this medieval religiosity expressed in villages and small towns, particularly in the Kinai region. This new theater type fascinated the ~~shogun~~ and the great lords who patronized Noh troupes. Performances were given in Kyoto, in provincial towns, and in front of ~~temples~~ and shrines. Besides the new quality of the proposed performance, success came from the creation of a new culture that integrated the capital and the villages, it was the world of the court but also ~~merchants~~, peasants, and even outcasts. In the staging of dramatic situations Zeami created such intensity that the spectator, seized by intense emotion, must be nailed to the spot. This is what he calls "the Flower" that captivates the audience, an elusive and often ephemeral element that he explains in a theoretical collection, Fūshikaden, "the transmission of the Flower."		{{Wiki\|Noh}} Theater was born during the 14th century from the evolution of various forms of performance including sung, recited, or danced dramas. These performances took place during ceremonies to delight and thank the deities. Therefore, they were initially religious performances. These genres mixed and gave birth to true theater, under the impetus of playwrights and genius actors, {{Wiki\|ja:観阿弥\|Kan'ami}} (1333–1384)—known by his stage name Kanze I—and especially his son {{Wiki\|Zeami Motokiyo\|Zeami}} (1363-1443)—known by his stage name Kanze II—who innovated by introducing narrative. These were widely attended provincial shows put on by traveling entertainers, despised for their lower status, who took part in this [[Middle Ages\|medieval]] religiosity expressed in villages and small towns, particularly in the {{Wiki\|Kinai}} region. This new theater type fascinated the [[shōgun]] and the [[Daimyō\|great lords]] who patronized Noh troupes. Performances were given in [[Kyoto]], in provincial towns, and in front of [[temple]]s and shrines. Besides the new quality of the proposed performance, success came from the creation of a new culture that integrated the capital and the villages, it was the world of the {{Wiki\|Imperial Court in Kyoto\|court}} but also [[merchant]]s, peasants, and even outcasts. In the staging of dramatic situations, Zeami created such intensity that the spectator, seized by intense emotion, must be nailed to the spot. This is what he calls "the Flower" that captivates the audience, an elusive and often ephemeral element that he explains in a theoretical collection, {{Wiki\|ja:風姿花伝\|Fūshikaden}}, "the transmission of the Flower."
	[[Category:Animus EGO database entries]]		[[Category:Animus EGO database entries]]
	[[Category:Database: Music and Arts]]		[[Category:Database: Music and Arts]]
	{{DEFAULTSORT:Noh Theater}}		{{DEFAULTSORT:Noh Theater}}

imported>Soranin: Created page with "{{Spoilerhd|20 June 2025|Assassin's Creed: Shadows}} Noh Theater was born during the 14th century from the evolution of various forms of performance including sung, recited, or danced dramas. These performances took place during ceremonies to delight and thank the deities. Therefore, they were initially religious performances. These genres mixed and gave birth to true theater, under the impetus of playwrights and genius actors, Kan'ami (1333-1384) - known by his stag..."

2025-05-13T15:20:28Z

Created page with "{{Spoilerhd|20 June 2025|Assassin's Creed: Shadows}} Noh Theater was born during the 14th century from the evolution of various forms of performance including sung, recited, or danced dramas. These performances took place during ceremonies to delight and thank the deities. Therefore, they were initially religious performances. These genres mixed and gave birth to true theater, under the impetus of playwrights and genius actors, Kan'ami (1333-1384) - known by his stag..."

Páàjì titun

{{Spoilerhd|20 June 2025|[[Assassin's Creed: Shadows]]}}
Noh Theater was born during the 14th century from the evolution of various forms of performance including sung, recited, or danced dramas. These performances took place during ceremonies to delight and thank the deities. Therefore, they were initially religious performances. These genres mixed and gave birth to true theater, under the impetus of playwrights and genius actors, Kan'ami (1333-1384) - known by his stage name Kanze I - and especially his son Zeami (1363-1443) - known by his stage name Kanze II - who innovated by introducing narrative. These were widely attended provincial shows put on by traveling entertainers, despised for their lower status, who took part in this medieval religiosity expressed in villages and small towns, particularly in the Kinai region. This new theater type fascinated the shogun and the great lords who patronized Noh troupes. Performances were given in Kyoto, in provincial towns, and in front of temples and shrines. Besides the new quality of the proposed performance, success came from the creation of a new culture that integrated the capital and the villages, it was the world of the court but also merchants, peasants, and even outcasts. In the staging of dramatic situations Zeami created such intensity that the spectator, seized by intense emotion, must be nailed to the spot. This is what he calls "the Flower" that captivates the audience, an elusive and often ephemeral element that he explains in a theoretical collection, Fūshikaden, "the transmission of the Flower."
[[Category:Animus EGO database entries]]
[[Category:Database: Music and Arts]]
{{DEFAULTSORT:Noh Theater}}