著者

BUGNE Magali

出版者

人間文化研究機構 国文学研究資料館

雑誌

第43回 国際日本文学研究集会会議録 = PROCEEDINGS OF THE 43rd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:03877280)

巻号頁・発行日

no.43, pp.33-44, 2020-03-26

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Noh is often composed of a variety of texts, such as quotations taken from literacy sources, waka insertions or even parts of Buddhist scriptures. While the complex intertextuality in the lyrics of a noh play shows the diversity of the medieval literary world, it may also render the meaning of the lyrics unintelligible.   Zeami was the first medieval actor to discuss the complex structure of a noh play. Some of this teaching was passed down through secret treatises to his son-inlaw, Konparu Zenchiku (1405-1470?), during the Muromachi era. While Zenchiku inherited the fukushiki-nô (noh in two parts) created by Zeami―a style of play that distances itself from the realistic timeline commonly used in dialogue-centric theater in the early 14th century―he didn’t consider the physical theory of Zeami’s art. In addition, diverging from the literary norms established by Zeami, Zenchiku created plays that are often evaluated as ambiguous due to the fact that the texts inserted into them appear to have been quoted out of context. How did Zenchiku receive and adapt Zeami’s teachings? How did the transition from imitation of the master’s thoughts to the process of art creation happen in noh theater during the Muromachi era?   In order to solve this problem, this presentation considers the multiplicity and diversity of medieval playwrights through the concept of “intertextuality”. More specifically, we will analyze the interrelationships (citations, metaphors, waka insertions, rewritings, etc.) between the playwrights Zeami and Zenchiku. By doing this we hope to look through a new lens at Zenchiku’s work.