Leiter S.L. Historical Dictionary of Japanese Traditional Theatre
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BIBLIOGRAPHY • 511
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———. Theater East and West: Perspectives Toward a Total Theater. Rev. ed.
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———. ‘‘Theatre East/West: Return to the Feast.’’ Contemporary Theatre
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Rosse, Herman. ‘‘Sketches of Oriental Theatres.’’ Theatre Arts 2(Summer
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———. ‘‘Sketches of Oriental Theatres.’’ Theatre Arts 3 (January 1919):
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Sadler, Arthur. Japanese Plays: No
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ˆ
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———. ‘‘Leonard’s Bastard Son: The Noho Theatre Group’s First Two Dec-
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Mime Journal (2002–3): 135–54.
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———. ‘‘An Experiment in Fusion: Traditional Japanese Theatre and Modern
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ˆ
/Kyo
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BIBLIOGRAPHY • 513
Tsuge, Genichi, Japanese Music: An Annotated Bibliography. New York: Gar-
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Turner, Craig. ‘‘No
ˆ
and Kyo
ˆ
gen Masks in Actor Training.’’ In Rebecca Teele,
ed. No
ˆ
/Kyo
ˆ
gen Masks and Performance. Special issue of Mime Journal
(1984): 208–14.
Ueda, Makoto. ‘‘Japanese Idea of a Theatre.’’ Modern Drama 11 (Spring
1967): 348–57.
———. Literary and Art Theories in Japan. Ann Arbor: Center for Japanese
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———. ‘‘The Aesthetics of Journey: An Approach to East/West Theatre Inter-
action.’’ Contemporary Theatre Review 1, part 2 (1994): 145–59.
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(February 1959): 14–17, 65, 80.
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Drama 25:1 (1982): 140–42.
Zarina, Xenia. Classic Dances of the Orient. New York: Crown, 1967.
Websites: General
These sites cover two or more forms of Japanese theatre.
Benihana: Culture Performing Arts: www.japancorner.com/performing-arts
.asp
Drama in Medieval through 19th century Japan: Kyo
ˆ
gen, Noh, Kabuki,and
Puppets (Bunraku): www.sfusd.k12.ca.us/schwww/sch618/japan/Dance
Drama/Japanese_Drama_Noh.html
Japanese Theatre: www.bridgewater.edu/%7Edhuffman/soc306/I99grp2/index
.html
Illustrated ‘‘Look into Japan’’: www.jnto.go.jp/eng/illustrated/index.html
Performing Arts: www.japan-photo.de/e-kunst3.htm
Traditional Performing Arts Meet Osaka: www.osaka21.or.jp/dento-e/index
.html
PAGE 513
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514 • BIBLIOGRAPHY
OTHER JAPANESE THEATRE FORMS
Traditional forms other than bunraku, kabuki, kyo
ˆ
gen, and no
ˆ
.
Araki, James. The Ballad Drama of Medieval Japan. Berkeley: University of
California Press, 1964.
Blacker, Carmen. The Catalpa Bow: A Study of Shamanism Practices in Japan.
London: Allen and Unwin, 1986.
Garfias, Robert. Gagaku: The Music and Dances of the Imperial Household.
New York: Theatre Arts Books, 1959.
Gunji, Masakatsu. Buyo
ˆ
: The Classical Dance. New York: Walker/Weatherhill,
1970.
Havens, Thomas, Artist and Patron in Postwar Japan: Dance, Music, Theatre
and the Visual Arts, 1955–1980. Princeton, N.J.: Princeton University Press,
1982.
Hoff, Frank. ‘‘The Birth of Non-verbal Theatre in Shinto Ritual.’’ Maske und
Kothurn 29 (1983): 301–6.
Honda, Yasuji. ‘‘Yamabushi Kagura and Bangaku: Performances in the Japa-
nese Middle Ages and Contemporary Folk Performances.’’ Trans. by Frank
Hoff. Educational Theatre Journal 26 (1974): 196–208.
Kobayashi, Kazushige. ‘‘On the Meaning of Masked Dances in Kagura.’’ Asian
Folklore Studies 40 (1981): 1–22.
Kwon, Yung-Hee Kim. ‘‘The Female Entertainment Tradition in Medieval
Japan: The Case of Asobi.’’ Theatre Journal 40:2 (May 1988): 205–16.
Lee, William. ‘‘Japanese Folk Performing Arts Today: The Politics of Promo-
tion and Preservation.’’ In Stanca Scholz-Cionca and Samuel L. Leiter, eds.
Japanese Theatre and the International Stage. Leiden, Netherlands: Brill,
2001.
Morioka, Heinz, and Miyoko Sasaki. Rakugo: The Popular Narrative Art of
Japan. Cambridge, Mass.: Harvard University Press, 1990.
Nishikawa, Kyo
ˆ
taro
ˆ
. Bugaku Masks. Trans. by Monica Bethe. Tokyo: Ko
ˆ
dan-
sha, 1977.
Ortolani, Benito. Bugaku: The Traditional Dance of Japanese Imperial Court.
Monographs on Asian Music, Dance, and Theater in Asia. Vol. 5. New York:
Performing Arts Program of the Asia Society: 1978.
———. ‘‘To Court and Shrine from the World: Gigaku and Bugaku.’’ In Sam-
uel L. Leiter, ed. Japanese Theatre in the World. New York: Japan Society
and Japan Foundation, 1997.
Raz, Jacob. ‘‘Chinkon: From Folk Beliefs to Stage Conventions.’’ Maske und
Kothurn 27:1 (1981): 5–18.
Sadler, Arthur. ‘‘O-Kagura: Field Notes on the Festival Drama in Modern
Tokyo.’’ Asian Folklore Studies 29 (1970): 275–300.
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.................15687$ BIBL 12-20-05 11:06:34 PS
BIBLIOGRAPHY • 515
Tanabe, Saburosuke. ‘‘Trajectory from the Asian Continent: Chido
ˆ
, Shishi,
Gyo
ˆ
do
ˆ
.’’ Trans. by Shirai Hiro. In Samuel L. Leiter, ed. Japanese Theatre in
the World. New York: Japan Society and Japan Foundation, 1997.
Thornbury, Barbara. The Folk Performing Arts: Traditional Culture in Contem-
porary Japan. Albany: SUNY Press, 1997.
Togi, Masataro. Gagaku: Court Music and Dance. Trans. by Don Kenny. New
York and Tokyo: Walker/Weatherhill, 1971.
Wolz, Carl. Bugaku, Japanese Court Dance, with the Notation of Basic Move-
ments of Nasori. Providence, R.I.: 1971.
———. ‘‘Bugaku Today.’’ In Judith Mitoma Susilo, ed. Japanese Tradition:
Search and Research. Los Angeles: University of California Press, 1981.
Zobel, Guenter. ‘‘Ritual and Acting in Shishimai: The ‘‘Black Lion’’ of Nagai/
Yamagata.’’ In Stanca Scholz-Cionca and Samuel L. Leiter, eds. Japanese
Theatre and the International Stage. Leiden, Netherlands: Brill, 2001.
Zobel, Gu
¨
nter, and Goto
ˆ
Hajime. ‘‘Ancient Roots in Rural Traditions: Kagura
and Minzoku Geino
ˆ
.’’ In Samuel L. Leiter, ed. Japanese Theater in the
World. New York: Japan Society and the Japan Foundation, 1997.
KYO
ˆ
GEN
See also works on no
ˆ
, which often discuss kyo
ˆ
gen as well.
Berberich, Junko Sakaba. ‘‘The Idea of Rapture as an Approach to Kyo
ˆ
gen.’’
Asian Theatre Journal 6 (1989): 31–46.
Fujii, Takeo. Humor and Satire in Early English Comedy and Japanese Kyo
ˆ
gen
Drama: A Cross-Cultural Study in Dramatic Arts. Hirakata: KUFS Publica-
tion, 1983.
Golay, Jacqueline. ‘‘Pathos and Farce: Zato
ˆ
Plays of the Kyo
ˆ
gen Repertoire.’’
Monumenta Nipponica 28:2 (1973): 139–49.
Haynes, Carolyn. ‘‘Parody in Kyo
ˆ
gen: Makura Monogurui and Tako.’’ Monu-
menta Nipponica 39:3 (1984): 261–79.
———. ‘‘Comic Inversion in Kyo
ˆ
gen: Ghosts and the Nether World.’’ Journal
of Association of Teachers of Japanese 20 (1988): 29–40.
Iwasaki, Kyo
ˆ
un. ‘‘Kyo
ˆ
gen Masks.’’ In Rebecca Teele, ed. No
ˆ
/Kyo
ˆ
gen Masks
and Performance. Special issue of Mime Journal (1984): 183–93.
Izumi, Motohide, Izumi Motoya, Izumi Junko, and Izumi Shoko (Miyake
Tokuro). Kyo
ˆ
gen: Traditional and Shakespearean of Izumi School. Ed. by
Izumi Motohide. Tokyo: Izumi Souke, 1993.
Kazutoshi, Hayashi, and Laurence Kominz. ‘‘Satire, Parody, and Joyous
Laughter: Kyo
ˆ
gen.’’ In Samuel L. Leiter, ed. Japanese Theater in the World.
New York: Japan Society and the Japan Foundation, 1997.
PAGE 515
.................15687$ BIBL 12-20-05 11:06:35 PS
516 • BIBLIOGRAPHY
Kenny, Don. ‘‘The Face and the Mask.’’ In Rebecca Teele, ed. No
ˆ
/Kyo
ˆ
gen
Masks and Performance. Special issue of Mime Journal (1984): 194–99.
———. A Guide to Kyo
ˆ
gen. 4th ed. rev. Tokyo: Hinoki Shoten, 1990.
Kirihata, Ken. Kyo
ˆ
gen Costumes: Suo
ˆ
(Jackets) and Kataginu (Shoulder-
Wings). London: Thames and Hudson, 1990.
Mangolini, Fabio. ‘‘Commedia Dell’arte and Kyo
ˆ
gen: Two Popular Theaters at
the Opposite Sides of the Silk Road.’’ Proceedings of the Midwest Associa-
tion for Japanese Literary Studies 1 (1995): 39–53.
Mansaku, Nomura. ‘‘Some Thoughts on Kyo
ˆ
gen Masks.’’ In Rebecca Teele, ed.
No
ˆ
/Kyo
ˆ
gen Masks and Performance. Special issue of Mime Journal (1984):
177–82.
Manzo
ˆ
, Nomura. ‘‘Mask Making.’’ In Rebecca Teele, ed. No
ˆ
/Kyo
ˆ
gen Masks
and Performance. Special issue of Mime Journal (1984): 171–76.
Matsuura, Koyu. ‘‘Kyo
ˆ
gen and Yu
ˆ
gen: The Characteristics of Kyo
ˆ
gen-Plays
Seen in The Same Old Drunken Dame (Inabado).’’ Memoirs of Shukutoku
University 20 (1986): 31–53.
Morley, Carolyn. ‘‘The Tender-Hearted Shrews: The Woman Character in Kyo
ˆ
-
gen.’’ Journal of the Association of Teachers of Japanese 22 (1988): 41–52.
Nomura, Mansaku. ‘‘Experiments in Kyo
ˆ
gen.’’ In James R. Brandon, ed. No
ˆ
and Kyo
ˆ
gen in the Contemporary World. Honolulu: University of Hawai‘i
Press, 1997.
Salz, Jonah. ‘‘The Twain Doth Meet: Noh
, Kyo
ˆ
gen and
the
West.’’ Kyoto Jour-
nal (Summer 1987): 54–57.
———. ‘‘Get Thee to a Noh Master: East Meets West Meets Hamlet.’’ In
Judith Lee Oliva, ed. New Theater Vistas. New York: Garland, 1996.
———. ‘‘Pidgin-Creole Performance Experiment and the Emerging Avant-
Garde.’’ In James R. Brandon, ed. No
ˆ
and Kyo
ˆ
gen in the Contemporary
World. Honolulu: University of Hawai‘i Press, 1997.
———. ‘‘Roles of Passage: Coming of Age as a Japanese Kyo
ˆ
gen Actor.’ ’
Ph.D. diss. New York University, 1997.
———. ‘‘Roles of Passage in Kyo
ˆ
gen Training.’’ In John Singleton, ed. Learn-
ing in Likely Places: Varieties of Apprenticeship in Japan (Learning in
Doing: Social, Cognitive & Computational Perspectives). Cambridge: Cam-
bridge University Press, 1998.
———. ‘‘Samuel Beckett’s Act Without Words in Kyo
ˆ
gen Style.’’ In Ian Wat-
son, ed. Actor Training Interculturally. London: Harwood, 2001.
Serper, Zvika. ‘‘Melodic Speech Patterns in the Traditional Japanese Kyo
ˆ
gen
Theatre: A Strategy of Contrasting Structures.’’ Journal of Dramatic Theory
and Criticism 15:2 (2001): 97–114.
Shibano, Dorothy T. ‘‘Begin with a Monkey, End with a Fox.’’ Hemisphere 26
(1981): 40–42.
PAGE 516
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BIBLIOGRAPHY • 517
Shigeyama, Sengoro
ˆ
.‘‘TheKyo
ˆ
gen Actor and His Relationship with the
Mask.’’ In Rebecca Teele, ed. No
ˆ
/Kyo
ˆ
gen Masks and Performance. Special
issue of Mime Journal (1984): 156–70.
Sutton, Dana Ferrin. ‘‘Euripides’ Cyclops and the Kyo
ˆ
gen Esashi Juo
ˆ
.’’ Quad-
erni Urbinati 32 (79): 53–64.
Ueda, Makoto. ‘‘Toraakira and His Theories of Comedy.’’ Journal of Aesthetics
and Art Criticism 24 (1965–1966): 19–25.
Wells, H. W. ‘‘Japanese Farce and Japanese Art.’’ Literature East and West
11:4 (1967): 345–49.
Yoshikoshi, Tatsuo, Hiroshi Hata, and Don Kenny. Kyo
ˆ
gen. Trans. and ed. by
Don Kenny. Tokyo: Hoikusha, 1982.
KYO
ˆ
GEN: TRANSLATIONS
AND ANTHOLOGIES
Brinkley, Frank, trans. ‘‘The Three Cripples’’ (Sannin Katawa). In Japan, Its
History, Arts and Literature. Boston: J. B. Millet, 1901: 52–59.
Chamberlain, Basil Hall, trans. ‘‘Abstraction’’ (Hanago). In Literature of the
Orient. London: Colonial Press, 1902: 283–96.
———. ‘‘Ribs and Skin’’ (Hone-Kawa). In Basil Hall Chamberlain, Japanese
Things: Being Notes on Various Subjects Connected with Japan. Tokyo: Tut-
tle, 1971. Originally published 1902.
Clements, Colin Campbell, trans. ‘‘A Man and His Wife’’ (Hanago). In ‘‘Seven
Plays of Old Japan.’’ Poet-Lore 31:2 (1920): 197–203.
Honda, Masujiro, and Frank Backus Williams, trans. ‘‘The Priest and the
Knave’’ (Akubo). Oriental Review 3 (April 1913): 427–29.
Hori, Eishiro, trans. ‘‘So
ˆ
hachi.’’ The Far East (November 13, 1920): 135–37.
———. ‘‘Ninin Daimyo
ˆ
:ANo
ˆ
-Kyo
ˆ
gen.’’ The Far East (December 25, 1920):
334–36.
———. ‘‘The Ink Smear’’ (Suminuri Onna). The Far East (January 22, 1921):
463–64.
———. ‘‘The Quiver Monkey’’ (Utsubo Zaru). The Far East (February 19,
1921): 128–30.
———. ‘‘The Three Cripples’’ (Sannin Katawa). The Far East (April 2, 1921):
350–52.
‘‘Ink-stained.’’ The Chrysanthemum 2 (July 1882): 297–304.
Itow [ sic], Michio, and Louis V. Ledoux. ‘‘Somebody-nothing: An Ancient
Japanese Farce’’ (Busu). Asia 21 (December 1921): 1011–12.
———. ‘‘She Who Was Fished’’ ( Tsuri Onna). The Outlook (January 31,
1923): 218–19.
PAGE 517
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518 • BIBLIOGRAPHY
———. ‘‘The Fox’s Grave’’ (Kitsune-Zuka). The Outlook (February 14, 1923):
306–8.
Kenny, Don, trans. ‘‘The Snail:AKyo
ˆ
gen Play as Performed by the Izumi
School.’’ Asian Theatre Journal 3:1 (1986): 34–53.
———. The Book of Kyo
ˆ
gen in English. Tokyo: Gekishobo, 1986.
———, comp. and trans. The Kyo
ˆ
gen Book: An Anthology of Japanese Classi-
cal Comedies. Tokyo: Japan Times, 1989.
‘‘Lost Dress-coat’’ (Suo
ˆ
Otoshi). Japan Magazine 11 (November 1920):
343–45.
McKinnon, Richard, trans. Selected Plays of Kyo
ˆ
gen. Tokyo: Uniprint, 1968.
Morley, Carolyn Anne, trans. Transformations, Miracles, and Mischief: The
Mountain Priest Plays of Kyo
ˆ
gen. Ithaca, N.Y.: Cornell East Asia Series,
1993.
Noguchi, Yone, trans. Ten Kiogen in English. Tokyo: Tozaisha, 1907.
Obata, Shigeyoshi, trans. The Melon Thief, From a Medieval Japanese Farce.
New York: Samuel French, 1923.
‘‘Pinioned’’ (Bo
ˆ
shibari). Chrysanthemum 2 (August 1883): 353–61.
Sakanishi, Shio, trans. Japanese Folk-Plays: The Ink-Stained Lady and Other
Kyo
ˆ
gen. Rutland, Vt.: Tuttle, 1960.
Shibano, Dorothy, trans. ‘‘Suehirogari: The Fan of Felicity.’’ Monumenta Nip-
ponica 35:1 (1975): 77–88.
‘‘Six Priests, The’’ (Rokunin So
ˆ
). The Chrysanthemum 2 (May 1882): 201–7.
‘‘Six Who Became Priests, The’’ (Rokunin So
ˆ
). The New East 3 (December
1918): 577–88.
‘‘Thunder-God’’ (Kaminari). The Tourist 2 (September 1932): 51–56.
Tuck, Oswald G. ‘‘Some Comic Medieval Plays of Japan.’’ Transactions and
Proceedings of the Japan Society 21 (1924). (Summary translations of Dont-
aro
ˆ
,
Kaki Yamabushi, Kaminari.)
NO
ˆ
See also works on kyo
ˆ
gen, which often discuss no
ˆ
as well.
Akima, Toshio. ‘‘The Songs of the Dead: Poetry, Drama, and Ancient Death
Rituals of Japan.’’ Journal of Asian Studies 41 (1982): 485–509.
Albery, Nobuko. The House of Kanze. New York: Simon and Schuster, 1985.
Atkins, Paul. ‘‘The Noh Plays of Komparu Zenchiku (1405–?).’’ Ph.D. diss.
Stanford University, 1999.
Bayerdo
¨
rfer, Hans-Peter. ‘‘No
ˆ
in Disguise: Robert Wilson’s Adaptation of No
ˆ
Elements in His Production of Alkestis/Alceste.’’ In Stanca Scholz-Cionca
PAGE 518
.................15687$ BIBL 12-20-05 11:06:37 PS
BIBLIOGRAPHY • 519
and Samuel L. Leiter, eds. Japanese Theatre and the International Stage.
Leiden, Netherlands: Brill, 2001.
Beck, L. Adams. The Ghost Plays of Japan. New York: Japan Society, 1933.
Bender, Ross. ‘‘Metamorphosis of a Deity: The Image of Hachiman in Yumi
Yawata.’’ Monumenta Nipponica 33:2 (1978): 165–78.
Berberich, Junko Sakaba. ‘‘Some Observations on Movement in No
ˆ
.’’ Asian
Theatre Journal 1:2 (1984): 207–16.
Bethe, Monica. ‘‘The Use of Costumes in No
ˆ
Drama.’’ In Five Centuries of
Japanese Kimono: On the Sleeve of Fondest Dreams. Art Institute of Chi-
cago Museum Studies 18:1 (1992).
Bethe, Monica, and Karen Brazell. No
ˆ
as Performance: An Analysis of the Kuse
Scene of Yamanba. Ithaca, N.Y.: Cornell East Asia Papers, 1978.
———. Dance in the No
ˆ
Theater. 3 vols. Ithaca, N.Y.: Cornell East Asia
Papers, 1982.
———.‘‘Atsumori: The Ghost of a Warrior on Stage.’’ Par Rapport 5–6
(1982–83): 13–23.
———. ‘‘No
ˆ
Costume as Interpretation.’’ In Rebecca Teele, ed. No
ˆ
/Kyo
ˆ
gen
Masks and Performance. Special issue of Mime Journal (1984): 148–55.
———. ‘‘Okina: An Interview with Takabayashi Ko
ˆ
ji.’’ In Rebecca Teele, ed.
No
ˆ
/Kyo
ˆ
gen Masks and Performance. Special issue of Mime Journal (1984):
93–103.
Blumner, Holly. ‘‘Black Tuesday: The Creation of a Contemporary No
ˆ
Play.’’
In Carol Davis, ed. Theatre East and West Revisited. Special issue of Mime
Journal (2002–3): 155–63.
Brandon, James R. ‘‘Zeami on Acting: Values for the Western Actor.’’ In Benito
Ortolani and Samuel L. Leiter, eds. Zeami and the No
ˆ
Theatre in the World.
New York: CASTA, 1998.
Brazell, Karen. ‘‘Zeami and Women in Love.’’ Literature East and West 18:1
(1974): 8–18.
———. ‘‘Unity of Image: An Aspect of the Art of Noh.’’ In Susilo, Judith
Mitoma, ed. Japanese Tradition: Search and Research. Los Angeles: Uni-
v
ersity
of California, Asian Performing Arts Summer Institute, 1981.
Brown, Steven T. Theatricalities of Power: The Cultural Politics of Noh. Stan-
ford, Calif.: Stanford University Press, 2001.
Chang, Sik-Yun. ‘‘The Tragic Metaphor of the No
ˆ
Drama.’’ Theatre Annual 24
(1968): 1–5.
Colbath, James A. ‘‘The Japanese Drama and its Relation to Zen Buddhism.’’
Ph.D. diss. Western Reserve University, 1963.
———. ‘‘The Noh and Its Relation to Zen Buddhism.’’ Theatre Annual 27
(1971–72): 57–75.
de Poorter, Erika. ‘‘No
ˆ
Which Is No No
ˆ
: The Ritual Play Okina.’’ Maske und
Kothurn 23 (1989): 21–30.
PAGE 519
.................15687$ BIBL 12-20-05 11:06:37 PS
520 • BIBLIOGRAPHY
———. Zeami’s Talks on Sarugaku: An Annotated Translation of the Saru-
gaku Dangi. Amsterdam: Hotei, 2002.
Do
ˆ
moto, Masaki. ‘‘Dialogue and Monologue in No
ˆ
.’’ In James R. Brandon, ed.
No
ˆ
and Kyo
ˆ
gen in the Contemporary World. Honolulu: University of
Hawai‘i Press, 1997.
Edelson, Loren. ‘‘The Trope of Transformation in Medea: A No
ˆ
Cycle.’’ Com-
parative Drama 37 (2003): 59–74.
Emmert, Richard. ‘‘Hiranori: A Unique Rhythm Form in Japanese No
ˆ
Music.’’
In Richard Emmert and Minegishi Yuki, eds. Musical Voices of Asia. Tokyo:
Japan Foundation and Heibonsha, 1980: 100–7.
———. ‘‘Training of the No
ˆ
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