Embodied Performance Warriors, Dancers, and the Origins of Noh Theater

Matsuoka traces noh's connections to popular and religious dances, linked verse, and chigo (beautiful temple boy) culture, emphasizing performance and the body. He describes the world of noh playwright Zeami as well as his views on dramaturgy and performance―and argues that Zeami was once a chigo. Matsuoka shows how religious rituals and cultural forms like ecstatic dance prayer and plays about demons in hell attracted people on the margins. Such activities, Matsuoka contends, drew on the tension between wild acrobatic movement and corporeal restraint, influencing the development of noh as well as the art of flower arranging and the tea ceremony. Janet Goff's translation makes available in English a classic work of Japanese scholarship that will be invaluable to those interested in medieval Japanese culture, noh, and theatrical practice.
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