著者

西崎 専一

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.28, no.4, pp.43-54, 1978-03-30 (Released:2017-05-22)

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The peculiarity of Mugen-Noh (Noh of fantasy) improved by Zeami exists in abandonment of oneness of the world and self-identity of a person which are characteristics common to all dramas. For example, in the representation of Nochi-Shite (protagonist of a second half part) of "Izutsu" the heart of Izutsu-woman and the form of Narihira mingle in one figure, and in this very figure, reminiscent present merges with reminisced past. Thus a fantastic world is presented. This peculiarity of Mugen-Noh results from the idea that Noh has no stable ground to settle and has "formless figure" as an aesthetic core. A figure is considered not as such that implies self-identity but as an manifestation of changeable time movement. In this case a space of Noh has a role of a musical space which supports muscial movements played by dances and songs of Noh, but this musical space doesn't have any "function of space (=concretizing)". It keeps still as a ground supporting movements, but it does so not to concretize the movement but to destroy the concreteness in the movement. In a word, it is the still time on the horizon of which all occurrences in Mugen-Noh are freed from shackles of space.