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Noh as an independent and original art form--ultimately destined to supersede the earlier Dengaku, Sarugaku and other song-dances--incorporates the most significant elements of the former and especially of the Kusemai (tune dance). With it a new literary form may be said to have been created. The invention of Noh is attributed to Kwannami Kiyotsugu (1333-1384), a distinguished actor and writer of Sarugaku and to his son Zeami Motokiyo (1363-1443), who developed and refined the art under the patronage of Yoshimitsu, the third Ashikaga shogun. In addition to his dramatic activities, Zeami composed a number of works, the most important of which is called the Kwadensho (the Book of the Flower), or more properly, Fushi-kwadensho which he explained the nature and aesthetic principles governing Noh plays, and gave detailed instructions concerning the manner of composition, acting, direction, and production of these dramas.
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Noh as an independent and original art form--ultimately destined to supersede the earlier Dengaku, Sarugaku and other song-dances--incorporates the most significant elements of the former and especially of the Kusemai (tune dance). With it a new literary form may be said to have been created. The invention of Noh is attributed to Kwannami Kiyotsugu (1333-1384), a distinguished actor and writer of Sarugaku and to his son Zeami Motokiyo (1363-1443), who developed and refined the art under the patronage of Yoshimitsu, the third Ashikaga shogun. In addition to his dramatic activities, Zeami composed a number of works, the most important of which is called the Kwadensho (the Book of the Flower), or more properly, Fushi-kwadensho which he explained the nature and aesthetic principles governing Noh plays, and gave detailed instructions concerning the manner of composition, acting, direction, and production of these dramas.
Atsiliepimai