Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

Подождите немного. Документ загружается.

GLOSSARY • 501

wagin YOWAGIN

wagotoshi NIMAIME

waka LANGUAGE

waka onna MASKS: NO

wakaishu

INARI MACHI

wakaonna ONNA

wakaonnagata ONNAGATA

wakashudo

SHUDO

GOTO

waki no

PROGRAMS: NO

; WAKI KYO

GEN

waki sho

men STAGE: NO

waki tome TOME

wakikata ACTORS

wakiza STAGE: NO

wakizure SCHOOLS OF NO

AND KYO

GEN

wakizure TSURE

warai-jo

MASKS: NO

warai tome TOME

waraji FOOTGEAR

wariko bento

MAKU NO UCHI

wasure guchi KIRIDO GUCHI

wazaogi ACTORS

yagura nushi ZAMOTO

yagurashita MONSHITA

yagurashita kanban KANBAN

yahazu bin BIN

yakko OTOKODATE

yakuharai YAKUBARAI

yakusha ACTORS

yakuwari banzuke BANZUKE

yakuwari YAKU

yama oroshi NARI MONO

yama to

mi TO

yamabushi WAKI

yamabushi mono PLAY CATEGORIES: KYO

GEN

yamadai HINADAN

yamanba RO

yaro

atama YARO

KABUKI

PAGE 501

.................15687$ GLOS 12-20-05 11:06:33 PS

502 • GLOSSARY

yase otoko ONRYO

yasuki kuari SHU

GYOKU TOKKA

yawarakai KOJO

RURI

yayoi kyo

gen WAKADAYU

yokanbei PUPPET HEADS: MALE

ko DENGAKU

yokohon SHO

HON

yokome PUPPET HEADS

yokoyuka YUKA

yomiawase KEIKO

yonban tsuzuki TSUZUKI KYO

GEN

yorimasa OTOKO

yorime PUPPET HEADS

yose RAKUGO

yujo

hyo

banki YAKUSHA HYO

BANKI

yuki nuno JIGASURI

yuki oto NARI MONO

yukigo KUROGO

yukizeme SEMEBA

rei mono ONNA MONO

rei roppo

ROPPO

Introduction

zato

HUMOR: KYO

GEN; PUPPET HEADS: MALE

zato

mono PLAY CATEGORIES: KYO

GEN

zatsu mono YOBANME MONO

zatsu no

PROGRAMS: NO

zen kyo

gen PROGRAMS: KABUKI

mono YOBANME MONO

MASKS: NO

; ONNA

PAGE 502

.................15687$ GLOS 12-20-05 11:06:33 PS

Bibliography

INTRODUCTION

This bibliography is subdivided into ‘‘General Reference Works,’’ ‘‘Other Japa-

nese Theatre Forms,’’ ‘‘Kyo

gen,’’ ‘‘Kyo

gen: Translations and Anthologies,’’

‘‘No

,’’ ‘‘No

: Translations and Anthologies,’’ ‘‘Bunraku,’’ ‘‘Kabuki,’’ and ‘‘Bun-

raku and Kabuki: Anthologies and Translations.’’ Each also includes a substan-

tial number of Web sites.

This is perhaps the most up-to-date bibliography of literature in English per-

taining to Japanese traditional theatre. The ‘‘General Reference Works’’ section

lists several earlier bibliographies; the most complete among them, because it

also includes writing in European languages, is in Ortolani, Japanese Theatre.

(Where possible, I use shortened forms of the titles to which I am referring.)

Japanese-language studies of the ﬁeld are, of course, extremely abundant.

Among the most recent and accessible bibliographies for no

and kyo

gen is in

Nishino Haruo and Hisashi Hata, eds., No

Kyo

gen Jiten (Encyclopedia of No

and Kyo

gen) 2nd ed. (Tokyo: Heibonsha, 1999). Less extensive but with good

coverage are those in Toita Michizo

and Kobayashi Yasuharu, eds., No

gaku

Handobukku (No

Handbook) (Tokyo: Sanseido

, 2000), and Kobayashi Seki and

Aburatani Mitsuo, eds., Kyo

gen Handobukku (Kyo

gen Handbook) (Tokyo:

Sanseido

, 2002). For kabuki, see Hattori Yukio, ed., Kabuki Jiten (Kabuki

Encyclopedia) 2nd ed. (Tokyo: Heibonsha, 2000); and Fujita Hiroshi, ed.,

Kabuki Handobukku (Kabuki Handbook) (Tokyo: Sanseido

, 2000). For bun-

raku, see Fujita Hiroshi, Bunraku Handobukku (Bunraku Handbook) (Tokyo:

Sanseido

, 2002).

The ‘‘General Reference Works’’ section covers works in which more than

one form of Japanese traditional theatre are treated. Readers seeking good over-

views would be well ser ved by examining Arnott’s The Theatres of Japan,

Bowers’s Japanese Theatre, Brazell’s Traditional Japanese Theatre (an anthol-

ogy), Inoura and Kawatake’s The

raditional Theatres of Japan, Leiter’s Japa-

nese Theater in the World, and Ortolani’s Japanese Theatre. Looking only at

PAGE 503

503

.................15687$ BIBL 12-20-05 11:06:27 PS

504 • BIBLIOGRAPHY

books, Pronko’s Theatre East and West is recommended for its emphasis on

the inﬂuence of Japanese and other Asian theatres on Western theatre (a subject

covered by various writers, as in Horie-Webber, ed., Japanese Theatre and the

West). Brandon’s Chu

shingura allows three top scholars to examine the bun-

raku and kabuki classic of that title. His No

and Kyo

gen in the Contemporary

World includes excellent papers by a variety of major scholars. Keene’s Seeds

in the Heart and World within Walls are important over views of Japanese

drama from a literary point of view. Raz’s Audiences and Actors provides a

thorough analysis of audiences in premodern Japanese theatre. Scholz-Cionca

and Leiter’s Japanese Theatre and the International Stage includes essays by

many writers on the place of Japanese theatre in the non-Japanese world.

Teele’s No

/Kyo

gen Mask and Performance is a well-illustrated collection of

essays on masks; Komiya’s Japanese Music and Drama remains the main

discussion of Meiji-period theatre in English. And Ueda’s Literary and Art

Theories has perceptive chapters on Zeami, Toraakira, and Chikamatsu’s dra-

maturgical ideas.

Although the present book focuses only on bunraku, kabuki, kyo

gen, and no

the reader may wish to learn more about other premodern types of Japanese

performance. The principal studies of these are listed under ‘‘Other Japanese

Theatre Forms.’’ For ko

wakamai, there is Araki’s The Ballad Drama of Medie-

val Japan; for shamanistic practices as they relate to theatre, see Blacker’s The

Catalpa Bow; for gagaku and bugaku, see the works by Garﬁas, Nishikawa,

Ortolani, Togi, and Wolz; for traditional dance, see Gunji’s Buyo; for the story-

telling art of rakugo, there is Morioka and Sasaki’s Rakugo. A number of spe-

cialized studie s of dif fere nt ritual /r el ig io n-ba se d perform an ce types, such as

kagura and chinkon, are included among the articles and chapters listed;

Thornbury’s The Folk Performing Arts is a book-length study of how these

forms survive in modern Japan.

Kyo

gen has seen many of its plays translated, and a fair number of scholarly

articles and essays in collections, yet even though there are several pamphlet-

books

on kyo

gen, there is no comprehensive book about it in English. The

only scholarly book on kyo

gen is Fujii’s comparative study, Humor and Satire

in Early English Comedy and Japanese Kyo

gen Drama. Kenny’s A Guide to

Kyo

gen is an excellent book of plot summaries, and his The Kyo

gen Book is a

valuable anthology o f translations. The other most signiﬁcant collections of

kyo

gen plays are those published by McKinnon, Morley, and Sakanishi.

studies include those that cover the entire subject and those with a more

narrow focus. Numerous highly specialized articles on all aspects of no

are

listed below. The best of the comprehensive books are Keene’s No

and Konp-

aru’s The Noh Theatre, while Nakamura’s much briefer Noh might be a good

introduction. Important specialized studies include Bethe and Brazell’s

PAGE 504

.................15687$ BIBL 12-20-05 11:06:27 PS

BIBLIOGRAPHY • 505

detailed No

as Performance, concerning performance technique; Brown’s pro-

vocative Theatricalities of Power, about cultural politics; Goff’s Noh Drama

and The Tale of Genji, about the relationship between no

plays and the great

novel by Murasaki Shikibu; O’Neill’s penetrating investigation of no

’s origins,

Early No

Drama; Rath’s revealing analysis of no

’s methods of self-empower-

ment, The Ethos of Noh; Tamba’s The Musical Structure of Noh; Terasaki’s

close reading of no

plays, Figures of Desire; Thornhill’s research into the

metaphysical theories of Zenchiku, Six Circles, One Dewdrop; and Yokota-

Murakami’s The Formation of the Canon of No

, which examines why the

canon took the form it did. Essay collections worth examining include Ortolani

and Leiter’s Zeami and the No

Theatre in the World, compiled from sympo-

sium papers, and Smethurst and Lafﬁn’s examination of the play Ominaeshi.

There are also a number of groundbreaking translations and studies of Zeami,

among them de Poorter’s Zeami’s Talks on Sarugaku, Hare’s Zeami’s Style,

Sekine’s Zeami and His Theories, Rimer and Yamazaki’s On the Art of the No

Drama, and Quinn’s Developing Zeami. There are also comparative studies of

and Western drama, in particular the plays of W. B. Yeats and Aeschylus,

and the work of Ezra Pound.

Numerous no

play translations have been published in widespread sources.

The most readily available collections of translated no

plays include Brazell’s

Twelve Plays of the Noh and Kyo

gen Theaters; Keene’s Twenty Plays of the No

Theatre; the Nippon Gakujutsu Shinkokai’s The Noh Drama; the ﬁve volumes

of translations by Shimazaki; Smethurst’s Dramatic Representations of Filial

Piety; Tyler’s Pining Wind, Granny Mountains and Japanese No

Dramas;

Waley’s The No

Plays of Japan

; and Yasuda’s M

asterworks

of the No

Theatre.

Perhaps the most detailed notes for no

plays accompany the individually pub-

lished volumes translated by Bethe and Emmert under the general title Noh

Performance Guides.

Bunraku has not been as extensively written about in English as its sister art

of kabuki, but several important books are available for consultation. These

include Adachi’s The Voices and Hands of Bunraku (a revision of an earlier

book), which offers insight into the backstage world. Ando’s Bunraku and

Scott’s The Puppet Theatre of Japan are compact general introductions, but

the most detailed overview remains Keene’s marvelously illustrated Bunraku.

Coaldrake’s detailed study of women chanters, Women’s Gidayu

, has a special-

ized focus, as does Law’s Puppets of Nostalgia, an anthrop ol og ica l study of the

ritual purpose s of the puppets of Aw a j i island, which bear a clo se relationsh ip to

those of bunraku. Dunn’s The Early Japanese Puppet Drama examines ko jo

ru-

ri, which disappeared with the arrival of Takemoto Gidayu

and Chikamatsu

Monzaemon, while Gerstle’s Circles of Fantasy is a serious look at the drama-

turgic conventions in Chikamatsu’s drama. Gerstle, Inobe, and Malm produced

PAGE 505

.................15687$ BIBL 12-20-05 11:06:28 PS

506 • BIBLIOGRAPHY

a valuable single-play analysis in Theater as Music, which explains bunraku

music from the point of view of a classic play (a cassette accompanies the

book). Hironaga’s Bunraku is mainly a compendium of plot summaries but has

a useful introduction.

Many books and essays have been devoted to kabuki, the best early example

being Kincaid’s Kabuki: The Popular Stage of Japan. Much of value about

kabuki can also be gleaned from the various works on ukiyo-e prints, whose

subjects were often kabuki actors. A number of such books are listed below;

see, for example, Clark’s The Actor’s Image and Keyes’s The Theatrical World

of Osaka Prints. For the best introductory overviews, readers should consult

Cavaye’s Kabuki: A Pocket Guide, Gunji’s The Kabuki Guide,andToita’s

Kabuki: The Popular Theatre. Among the more advanced and comprehensive

surveys are Ernst’s The Kabuki Theatre, Scott’s The Kabuki Theatre of Japan,

Kawatake Shigetoshi’s Kabuki: Japanese Drama, Gunji’s Kabuki, and Kawa-

take Toshio’s Japan on Stage and Kabuki: Baroque Fusion of the Arts.For

more specialized studies, the best choices would include such collections as

Brandon, Malm, and Shively’s Studies in Kabuki; Leiter’s A Kabuki Reader,

an anthology of major earlier essays in the ﬁeld supplemented by newly com-

missioned ones; his Frozen Moments, a collection of his own essays; and the

International Symposium on the Conser vation and Restoration of Cultural

Property’s Kabuki: Changes and Prospects, based on an important Tokyo con-

ference. For background on three great actors, see Kominz’s The Stars Who

Created Kabuki, and for an examination of the place of the Soga brothers’

revenge story in kabuki, see his Avatars of Justice. Kabuki music is best studied

in Malm’s Nagauta. Actor Nakamura Matazo

offers fascinating insights into

the world of kabuki acting in Kabuki: Backstage, Onstage. Shaver’s Kabuki

Costume is a richly illustrated account of costumes, wigs, and makeup, while

Thornbury’s Sukeroku’s Double Identity examines the dramaturgical conven-

tions of a popular play. Okamoto’s The Man Who Saved Kabuki tells the story

of American censorship during the Occupation, and Powell’s Kabuki in Mod-

ern Japan analyzes developments in shin kabuki, especially the plays of Maya-

ma Seika. Among documents essential to understanding kabuki history are

Dunn and Torigoe’s

The Actors’ Analects,

containing

the thoughts on acting of

several major 18th-century actors; for t hcoming is Saltzman-Li’s Creating

Kabuki Plays, a translation and analysis of a valuable 19th-centur y document

on playwriting. Grand Kabuki Overseas Tours provides nearly every review of

kabuki’s foreign tours from 1928 to 1993. The Halfords’ The Kabuki Hand-

book served as a major source of kabuki plots until Leiter’s Kabuki Encyclope-

dia (later much revised as New Kabuki Encyclopedia) appeared; the latter also

provides details on almost every aspect of kabuki history and performance,

organized from A to Z.

PAGE 506

.................15687$ BIBL 12-20-05 11:06:28 PS

BIBLIOGRAPHY • 507

Until recently, the number of translations of bunraku and kabuki plays was

not impressive. In 2002–2003, however, Brandon and Leiter published a four-

volume series, Kabuki Plays On Stage, containing over 50 plays. Other major

collections of plays from bunraku and kabuki, which share much of their reper-

toires, are Brandon’s Kabuki: Five Classic Plays, Gerstle’s Chikamatsu: 5 Late

Plays, Keene’s Major Plays of Chikamatsu, Leiter’s The Art of Kabuki, and

Miyamori’s Masterpieces of Chikamatsu. All have important introductions.

Long plays published in separate volumes include Jones’s translations of

Sugawara and the Secrets of Calligraphy and Yoshitsune and the Thousand

Cherry Trees, Keene’s of Chushingura, Motofuji’s of The Love of Izayoi and

Seishin, Scott’s of Genyadana and Kanjincho

, and Shively’s of The Love Sui-

cide at Amijima.

GENERAL REFERENCE WORKS

Works on two or more forms of traditional Japanese theatre. Works that con-

tain translations of plays from more than one form of theatre are also included

here.

Alland, Alexander, Jr. ‘‘Construction of Reality and Unreality in Japanese The-

atre.’’ The Drama Review 23:2 (1979): 3–10.

Arnott, Peter D. The Theatres of Japan. London: Macmillan, 1969.

Banman, Mar tin, ed. The Cambridge Guide to World Theatre. Cambridge:

Cambridge University Press, 1988.

Board of Tourist Industry. Japanese Drama. Tokyo: Board of Tourist Industry,

1935.

Bowers, Faubion. ‘‘The Japanese Theatre.’’ Theatre Arts Monthly 32 (October

1948): 44–46.

———. Japanese Theatre. New York: Hermitage House, 1952.

———. Theatre in the East: A Survey of Asian Dance and Drama. New York:

Grove, 1956.

Brandon, James R., ed. Traditional Asian Plays. New York: Hill and Wang,

1972.

———. The Performing Arts of Asia. Paris: UNESCO, 1971.

———. Brandon’s Guide to Theater in Asia. Honolulu: University of Hawai‘i

Press, 1976.

———. Asian Theatre: A Study Guide and Annotated Bibliography. American

Theatre Association: Washington, D.C., 1980.

———. Chu

shingura: Studies in Kabuki and the Puppet Theatre. Honolulu:

University of Hawai‘i Press, 1982.

PAGE 507

.................15687$ BIBL 12-20-05 11:06:29 PS

508 • BIBLIOGRAPHY

———. ‘‘Theatre East and West: An International Congress.’’ Asian Theatre

Journal 2:1 (1985): 231–33.

———. ‘‘Time and Tradition in Japanese Theatre.’’ Asian Theatre Journal 2:1

(1985): 71–79.

———, ed. The Cambridge Guide to Asian Theatre. Cambridge: Cambridge

University Press, 1993.

———, ed. No

and Kyo

gen in the Contemporary World. Honolulu: University

of Hawai‘i Press, 1997.

Brandon, James R., and Elizabeth Wichmann. Asian Theatre: A Study Guide

and Annotated Bibliography. Theatre Perspectives no. 1. Washington, D.C.:

American Theatre Association, 1980.

Brazell, Karen, ed. Traditional Japanese Theatre: An Anthology of Plays.New

York: Columbia University Press, 1997.

Brockett, Oscar G, with Franklin Hildy. History of the Theatre. 9th ed. Boston:

Allyn and Bacon, 2003.

Brown, Steven T., and Sara Jensen, eds. Performing Japanese Women. Special

edition of Women and Performance 12:1 (2001).

Chambers, Anthony H. ‘‘Traces in a Child’s Mind: Tanizaki Jun’ichiro

and Tra-

ditional Japanese Theatre.’’ In Carol Davis, ed. Theatre East and West Revis-

ited. Special issue of Mime Journal (2002–3): 41–53.

Cobin, Martin. ‘‘Traditional Theatre and Modern Television in Japan.’’ Educa-

tional Theatre Journal 21:2 (1969): 156–70.

Cohen, Selma Jeanne, ed. International Encyclopedia of Dance.NewYork:

Oxford University Press, 1998.

Crosscurrents in the Drama: East and West. Special issue of Theatre Sympo-

sium 6 (1998).

Crump, J. I., and William P. Malm, eds. Chinese and Japanese Music-Dramas.

Ann Arbor: Center for Chinese Studies, University of Michigan, 1981.

Davis, Carol, ed. Theatre East and West Revisited. Special issue of Mime Jour-

nal (2002–3).

Doi, Yuriko, with Rober t Graham. ‘‘Masks in Fusion Theatre.’’ In Rebecca

Teele, ed. No

/Kyo

gen Masks and Performance. Special issue of Mime Jour-

nal (1984): 201–7.

Dunn, Charles J. ‘‘Comparative Dramatics and Japanese Dramatic History.’’

Transactions of International Conferences of Orientalists in Tokyo 12

(1967).

———. ‘‘Religion and Japanese Drama.’’ In James Redmond, ed. Themes in

Drama: Drama and Religion 5. Cambridge: Cambridge University Press,

1983.

Edwards, Osman. Japanese Plays and Playfellows. London: Heinemann, 1901.

Ernst, Earle. Three Japanese Plays from the Traditional Theatre. New York:

Grove, 1960.

PAGE 508

.................15687$ BIBL 12-20-05 11:06:29 PS

BIBLIOGRAPHY • 509

———. ‘‘The Inﬂuence of Japanese Theatrical Style on Western Theatre.’’

Educational Theatre Journal 21:2 (1969): 127–38.

Eppstein, Ury. ‘‘The Stage Observed: Western Attitudes Toward Japanese The-

ater.’’ Monumenta Nipponica 48 (1993): 147–66.

Gerstle, C. Andrew. ‘‘Kabuki and the Puppet Theatre: Chikamatsu’s Twins at

the Sumida River.’’ In International Symposium on the Conservation and

Restoration of Cultural Property, ed. Kabuki: Changes and Prospects.

Tokyo: Tokyo National Research Institute of Cultural Properties, 1996.

Haar, Francis. Japanese Theatre in Highlight: A Pictorial Commentary. Text

by Earle Ernst. Tokyo: Tuttle, 1952.

Harich-Schneider, Eta. A History of Japanese Music. Oxford: Oxford Univer-

sity Press, 1973.

Hayashiya, Tatsusaburo

. ‘‘Ancient History and Performing Arts.’’ Acta Asiat-

ica 33 (1977): 74–90.

Hoff, Frank. Song, Dance, Storytelling: Aspects of the Performing Arts in

Japan. Ithaca, N.Y.: Cornell East Asia Series, 1978.

Horie-Webber, A., ed. Japanese Theatre and the West. Special edition of Con-

temporary Theatre Review: An International Journal 1:2 (1994).

Immoos, Thomas. ‘‘Japanese Themes in Swiss Baroque Drama.’’ In Joseph

Roggendorf, ed. Studies in Japanese Culture. Tokyo: Sophia University

Press, 1963.

———. ‘‘The Birth of the Japanese Theater.’’ Monumenta Nipponica 24:4

(1969): 403–14.

Inoura, Yoshinobu, and Toshio Kawatake. The Traditional Theatre of Japan.

Tokyo: Japan Foundation, 1981.

International Theatre Institute. Theatre Yearbook. Published annually. Tokyo:

ITI Japan Centre, 1972.

Irwin, Vera, ed. Classical Asian Plays in Modern Translation. Baltimore, Md.:

Penguin, 1972.

Ito, Kisaku. ‘‘Stage Design in Japan.’’ Japan Quarterly 11:1 (1964): 301–8.

Izutsu, Toshihiko, and Toyo Izutsu. The Theory of Beauty in the Classical Aes-

thetics of Japan. The Hague: Martinus-Nijhoff, 1981.

Japanese National Commission for UNESCO, comp. Theatre in Japan. Tokyo:

Printing Bureau, Ministry of Finance, 1964.

Kawatake, Shigetoshi. Development of the Japanese Theatre Art. Tokyo: Koku-

sai Bunka Shinkokai, 1936.

Keene, Donald. ‘‘Realism and Unreality in Japanese Drama.’’ Drama Survey

3:3 (1964): 332–51.

———. World within Walls: Japanese Literature of the Pre-Modern Era,

1600–1867. New York: Henry Holt, 1976.

———. Some Japanese Portraits. Tokyo: Ko

dansha, 1978.

PAGE 509

.................15687$ BIBL 12-20-05 11:06:31 PS

510 • BIBLIOGRAPHY

———. ‘‘Variations on a Theme: Chu

shingura.’’ In James R. Brandon, ed.

Chu

shingura: Studies in Kabuki and the Puppet Theatre. Honolulu: Univer-

sity of Hawai‘i Press, 1982.

———. Dawn to the West: Japanese Literature in the Modern Era. New York.

Holt, Rinehart and Winston, 1984.

———. Seeds in the Heart: Japanese Literature from Earliest Times to the

Late Sixteenth Century. New York: Henry Holt, 1984.

Kennedy, Dennis, ed. The Oxford Encyclopedia of Theatre and Performance.

2 vols. London: Oxford University Press, 2003.

Kirby, E. T. Ur-Drama: The Origins of the Theatre. New York: New York Uni-

versity Press, 1975.

Kokusai Bunka Shinkokai, ed. K.B.S. Bibliography of Standard Reference

Books for Japanese Studies with Descriptive Notes.Vol.7(B)Theatre,

Dance and Music. Tokyo: Kokusai Bunka Shinkokai, 1960.

Komiya, Toyotaka, comp. and ed. Japanese Music and Drama in the Meiji Era.

Trans. and adapt. by Edward G. Seidensticker and Donald Keene. Tokyo:

Obunsha, 1956.

Kusano, Eisaburo. Stories Behind Noh and Kabuki Plays. Tokyo: Tokyo News

Service, 1962.

LaFleur, William. The Karma of Words: Buddhism and the Literary Arts in

Medieval Japan. Berkeley: University of California Press, 1983.

Lee, San-Kyong. ‘‘Edward Gordon Craig and the Japanese Theatre.’’ Asian

Theatre Journal 17:2 (2000): 215–36.

Leiter, Samuel L., ed. Japanese Theater in the World. New York: Japan Soci-

ety, 1997.

———. ‘‘When Theatre Arts Looked Eastward: Japan’s Representation in

America’s Leading Theatre Journal (1916–64).’’ In Stanca Scholz-Cionca

and Samuel L. Leiter, eds. Japanese Theatre and the International Stage.

Leiden, Netherlands: Brill, 2001.

Lombard, Frank Alanson. An Outline History of Japanese Drama. London:

George, Allen and Unwin, 1928.

Malm, William P. Japanese Music and Musical Instruments. Rutland, Vt.: Tut-

tle, 1959.

Miner, Earl. ‘‘Our Heritage of Japanese Drama.’’ Literature East and West

15:4–16:2 (1971–72).

Miner, Earl, Hiroko Odagiri, and Robert E. Morrell, eds. The Princeton Com-

panion to Classical Japanese Literature. Princeton, N.J.: Princeton Univer-

sity Press, 1985.

Mitchell, John. Theatre: The Search for Style. Midland, Mich.: Northwood

Institute Press, 1982.

Mitchell, John, and Miyoko Watanabe. Noh and Kabuki: Staging Japanese

PAGE 510

.................15687$ BIBL 12-20-05 11:06:32 PS