Komparu Zenchiku

Komparu Zenchiku (金春禅竹, b. Shichiro Ujinobu[1] 1405-1468[2], 1470 or 1471) was a skilled[3] Japanese Noh actor, troupe leader, and playwright. His plays are particularly characterized by an intricate, allusive, and subtle style inherited from Zeami[4] which convolved yūgen with influences from Zen Buddhism (his Zen master was Ikkyū[5]) and Kegon. Actors should strive for unconscious performance, in which they enters the ‘circle of emptiness’; such a state of being is the highest level of artistic or religious achievement.

He lived, worked, and died in the Nara area of Japan. He was trained by Zeami and his son, Motomasa (d. 1432), eventually marrying a daughter of Zeami[1]. At some point he took the artistic name Komparu Ujinobu and then finally Komparu Zenchiku. In 1443, he became the leader of the Kanze acting troupe and thus the second successor to Zeami Motokiyo. Zeami passed on his secret teachings to Zenchiku, apparently prompting Zeami's exiling; this refusal to transmit to his blood descendants also prompted a split between the Komparu school and the Kanze. Zenchiku's grandson was Komparu Zempo, and his descendants would continue to head the Komparu school of Noh.

Contents

Works

Theoretical writings

Noh plays

See also: List of Noh plays: A-M and List of Noh plays: N-Z

Further reading

References

  1. ^ a b Komparu Zenchiku. (2007). In Encyclopædia Britannica. Retrieved November 11, 2007, from Encyclopædia Britannica Online: http://www.britannica.com/eb/article-9045984
  2. ^ Komparu, Zenchiku (1405 - ?1468). (2000). In The Cambridge Guide to Theatre. Retrieved November 12, 2007, from http://www.credoreference.com/entry/965809
  3. ^ "...His [Zeami] only important successor as a playwright of yūgen was Komparu Zenchiku, the author of such plays as Ugetsu, Yōhiki, and Bashō, all of the third [yugen] category, as well as treatises on the art of Nō that rank in a class with Zeami's." pg 1026, Seeds in the Heart, Donald Keene.
  4. ^ "Passages in the texts are sometimes so complex as to defy parsing...the obscurity arises in part because of the many varieties of word-play used to impart depth and richness to the text...The notes to a well-annotated edition of the play are likely to cause the reader to wonder how spectators, especially those at first performances, could have caught all the allusions...It has been argued that Zeami's plays are not in the mainstream of Nō composition. The only Nō dramatist who followed his style was his son-in-law Komparu Zenchiku (1405-1468?);..." pg 1016, Seeds in the Heart.
  5. ^ "Mandalas of the Heart. Two Prose Works by Ikkyu Sojun" Ikkyu Sojun; James H. Sanford in Monumenta Nipponica, Vol. 35, No. 3. (Autumn, 1980), pp. 273-298.
  6. ^ The Princeton Companion to Classical Japanese Literature by Earl Miner; Hiroko Odagiri; Robert E. Morrell; review author: Edwin A. Cranston. Reviewed in Harvard Journal of Asiatic Studies, Vol. 53, No. 1. (Jun., 1993), pp. 188-231.[1]
  7. ^ http://links.jstor.org/sici?sici=0027-0741%28198321%2938%3A1%3C49%3AKZFPOA%3E2.0.CO%3B2-R"Kakyo: Zeami's Fundamental Principles of Acting. Part Three"], Mark J. Nearman. Monumenta Nipponica, Vol. 38, No. 1. (Spring, 1983), pp. 49-71.
  8. ^ pg 1048, note 62, of Seeds in the Heart

External links