Zeami Motokiyo 世阿弥 元清 (1363–1443) gilt als Schöpfer des klassischen Nō-Theaters und war nicht nur ein herausragender Darsteller, sondern auch Autor vieler Stücke, die noch heute aufgeführt werden. Neben diesen Stücken hat Zeami aber auch theoretische Traktate zur Übungspraxis des Nō-Theaters verfasst, die über viele Jahrhunderte hinweg geheim überliefert wurden und als Anweisungen für seine Nachfolger gedacht waren. In diesen Traktaten reflektiert Zeami auf seine Kunst und stellt sie als einen Übungsweg nach buddhistischem Vorbild dar, als (...) eine ästhetische, aber auch spirituelle Praxis, einen Lebensweg (道 dō, michi), der auf die Verkörperung grundlegender Prinzipien abzielt. Im Folgenden möchte ich vor allem anhand dieser theoretischen Schriften nachvollziehen, welche Rolle der Ausdruck „von-selbst-so“ (自然 jinen, chin. zìrán) bzw. „von selbst“ (onozukara), der heutzutage als Übersetzung für den europäischen Natur-Begriff verwendet wird, in Zeamis Konzeption der leiblichen Übungspraxis spielt und dies mit Stellen aus anderen Schriften vergleichen. Zunächst werde ich aber in knapper Weise zurückverfolgen, was leibliche Praxis vor dem Hintergrund des Daoismus und des Zen-Buddhismus im Kontext der japanischen Übungswege bzw. Wegkünste bedeutet. (shrink)

This chapter explores a non-intellectualist approach to skilled expertise by comparing modern phenomenological philosopher Hubert Dreyfus’ account of absorbed coping with fifteenth-century Japanese dramatist Zeami Motokiyo’s account of Noh performance. It begins by presenting Dreyfus’ account of skilled performance and skill development, which envisages “conceptual mindedness” as the enemy of expertise. It then moves on to introduce Zeami’s account of skilled expertise in Noh by focusing on three key concepts, namely mushin, shoshin, and hana. By comparing these (...) two similarly non-intellectualist approaches, it argues that Zeami offers a helpful perspective in supplementing Dreyfus’s account by illuminating the role of conceptual knowledge, the open-ended character of skill development, and the cooperative relationship between the actor and the environment. At the same time, it suggests that the phenomenologist’s account of skilled expertise is unjustifiably biased towards young, healthy, able agents, overlooking the inescapable vulnerability of human embodiment. (shrink)

European theorists of childhood still tend to locate the first positive acknowledgements of childhood as a human developmental period in its own positive right between the 16th and 18th century in Europe. Even though the findings of Ariès have been constantly challenged, it still remains a commonplace, especially within the history of education, to refer to Jean-Jacques Rousseau of the 18th century as one of the earliest and most prominent conceptualisers of childhood as a positive period that must not be (...) evaluated in the light of its distance to adulthood but for its inherent value as an important and unmissable period of human life. Such a view is as unhistorical as it is biased and eurocentred. This article endeavours to shed at least a small light on the history of education and of childhood outwith the usual focus. The central objects of examination are the theoretical treatises of Zeami Motokiyo regarding the Noh theatre which have long been recognised as one of the great cultural achievements of humankind. Despite their acknowledged importance, theorists of education have hardly engaged with these treatises even though they present us with a whole theory of education that also embraces a very original and positive theory of childhood. Given that the treatises originate from the 14th-early 15th century, they pre-date everything the typical Western History of Education would bring forth as the beginning of a positive childhood and a pedagogy that acts accordingly. (shrink)

The volume focuses on a wide range of thinkers, including Iris Murdoch on truth and art, Stanley Cavell on tragedy, Roland Barthes and Michel Foucault on "the death of the author," and Kendall Walton on fearing fictions. Also included is a consideration of the fifteenth-century Japanese playwright and drama teacher Zeami Motokiyo, the founding father of Noh theather.

Mae Smethurst’s work has largely aimed to articulate nō theater in Western terms from their early roots, primarily through Aristotle’s On Tragedy. Her detailed examination of the shared structure of the content of these independent and superficially dissimilar arts reveals their mutual intelligibility and effectiveness through shared underlying universals. In this spirit, I outline how Zeami answers Plato’s first challenge to artistic performance, as expressed in Ion where Plato argues that rhapsody is not an art [techné] because it requires (...) no mastery. (Rhapsodes are instead vehicles of the divine.) This challenge to poetic performing arts, that is, to their claim to be arts at all, determines criteria by which we may judge any putative art, including sarugaku and its elevation to nōgaku. Though Zeami was unaware of Plato’s challenge, he nevertheless answers it in a way that brings Plato’s own assumptions and conceptual framework into relief. In this article I outline the first step of Zeami’s reply to Plato, how nō satisfies the criteria for mastery of a subject, with some help from zen master Dōgen. The focus of this article is twofold: 1) an examination of the ways Plato’s conception of a masterable subject entails metaphysical and epistemic tenets that may be revised or rejected in Buddhist tradition, and 2) a study of the means through which the sense of mindlessness that allegedly precludes rhapsody (and kamigakari) from qualifying as art (techné/michi) contrasts with the mushin and isshin of nō (and zazen). (shrink)

Das Buch bietet eine philosophisch kommentierte Übersetzung des altjapanischen Textes von Zeami zur Praxis und Ästhetik des Nō-Theaters. Zeami beschreibt nicht nur die Praxis des Schauspielers in verschiedenen Aspekten, sondern entwickelt auch zentrale ästhetische Kategorien für die Rezeption des Nō-Theaters. Die Übersetzung wird ergänzt durch einen Kommentar mit Worterklärungen sowie interpretierende Aufsätze zu Themen wie der Maske im Nō-Theater, dem Gebrauch des Körpers und der Ästhetik des Atmens. Der Band liefert somit eine solide Grundlage für eine philosophisch-ästhetische Auseinandersetzung (...) mit einer alten japanischen Schauspieltradition. (shrink)

Artistic Detachment in Japan and the West takes up the notion of artistic detachment, or psychic distance, as an intercultural motif for East-West comparative aesthetics. The work begins with an overview of aesthetic theory in the West from the eighteenth-century empiricists to contemporary aesthetics and concludes with a survey of various critiques of psychic distance. Throughout, the author takes a highly innovative approach by juxtaposing Western aesthetic theory against Eastern aesthetic theory. Weaving between cultures and time periods, the author focuses (...) on a remarkably wide range of theories: in the West, the Kantian notion of disinterested contemplation, Heidegger's Gelassenheit, semiotics, and pragmatism; in Japan, Zeami's notion of riken no ken, the Kyoto School's intepretation of nothingness, D. T. Suzuki's analysis of the function of no-mind, and the writings of Kuki Shuzo on Buddhist detachment. "Portrait of the artist" fiction by such writers as Henry James, James Joyce, Mori Ogai, and Natsume Soseki demonstrates how the main theme of detachment is expressed in literary traditions. The role of sympathy or pragmatism in relation to disinterest is examined, suggesting conflicts within or challenges to the notion of detachment. Researchers and students in Eastern and Western areas of study, including philosophers and religionists, as well as literary and cultural critics, will deem this work an invaluable contribution to cross-cultural philosophy and literary studies. (shrink)

Unlearning is a recurrent theme in Japan. To further understanding of what this entails, we focus on the view of learning laid out by a revered 13th century Zen-inspired playwright. For Zeami, learning involved a movement from the acquisition to unlearning of skills, punctuated by an experience of mushin, followed by creative reemergence. To deepen understandings of this unlearning model, we turn to draw comparison with recent discussions in the Western literature, focusing on Double-Loop Learning and Learning III, both (...) inspired by Bateson. Learning III, which Bateson utilized several Zen references to explicate, appears to gesture towards the alternative punctuation of learning envisaged by Zeami, although differences remain. We then shift to highlight empirical work on contemporary Japanese schooling, highlighting practices which suggest elements of a Zeami-like worldview continue to live on in Japan’s learning culture. Unlearning, when viewed as a living tradition embedded in culture, rather than merely a premodern past or future philosophical possibility, help sets the stage for a transnational, transdisciplinary dialogue on how we learn. We perform our own extended dialogue that led to this piece, a mode of engagement we view as methodological innovation, as we work to unlearn our past parochialisms. (shrink)

The article examines the relationship between Western and Eastern aesthetics, analyzing some aspects of the musical production of Tōru Takemitsu, the great Japanese composer, now firmly included in the contemporary music “Western Canon”. The article tries to demonstrate that contemporary music represents an ideal field for verifying the intersection between Western and Eastern aesthetics. It is precisely the paradoxical co-belonging of Takemitsu’s musical thought to both worlds, which encourages us to reconsider our way of understanding the aesthetic “distance” between East (...) and West. Contemporary music represents the privileged place, to verify the idea, that such cultural distinctions are indeed relevant, but only to the extent that they should be transcended in a higher unity, in a “hypercultural” space. Within this space, the differences find their “place”, but also their reciprocal translatability. Takemitsu’s writings record the incessant oscillation between the great Western musical, aesthetic, poetic tradition, and the specifical Japanese cultural tradition. The names of Debussy, Messiaen, Nono, Feldman, Cage stand alongside those of Basho and Zeami, in an aesthetic convergence that is a prelude to a truly “global” aesthetic. The path proposed here analyzes this convergence, retracing, in Takemitsu’s production, three fundamental “figures”: silence, trees, and rain. (shrink)

We explore the nature of expert minds in skilled performance by examining classic Japanese dramatist Zeami’s account of skilled expertise in Noh drama. Zeami characterizes expert minds by the co-existence of mushin and riken no ken. Mushin is an empty state of mind devoid of mental contents. Riken no ken is a distinctive form of self-awareness, where the actor embodies a common perspective with the audience upon one’s own performance. Conventional accounts of riken no ken present it as (...) a form of imagination: expert actors deliver their performance by imagining what it looks like from an external point of view. These imagination-based accounts, however, do not square well with the claim that riken no ken co-exists with mushin. We propose an alternative perception-based account that better accounts for this co-existence, drawing on the concept of “situated normativity” from embodied-ecological theories of cognition. The situated normativity account characterizes riken no ken as a form of “direct affective perception” in which actors are aware of their performance’s quality of attunement with the performative situation. Expert Noh actors realise a common perspective with the audience not by imagining an external point of view, but by perceiving the situation that encompasses their own performance from an aesthetic perspective cultivated and shared within the Noh community. (shrink)

Disc 1. Life's great questions: Asian perspectives ; The Vedas and Upanishads: the beginning -- Disc 2. Mahavira and Jainism: extreme nonviolence ; The Buddha: the middle way -- Disc 3. The Bhagavad Gita: the way of action ; Confucius: in praise of sage-kings -- Disc 4. Laozi and Daoism: the way of nature ; The Hundred Schools of preimperial China -- Disc 5. Mencius and Xunzi: Confucius's successors ; Sunzi and Han Feizi: strategy and legalism -- Disc 6. Zarathustra (...) and Mani: dualistic religion ; Kautilya and Ashoka: Buddhism and empire -- Disc 7. Ishvarakrishna and Patanjali: Yoga ; Nagarjuna and Vasubandhu: Buddhist theories -- Disc 8. Sima Qian and Ban Zhao: history and women ; Dong Zhongshu and Ge Hong: eclecticism -- Disc 9. Xuanzang and Chinese Buddhism ; Prince Shotoku, Lady Murasaki, Sei Shonagon -- Disc 10. Saicho to Nichiren: Japanese Buddhism ; Shankara, Ramanuja, Madhva: Hindu Vedanta -- Disc 11. Al-Biruni: Islam in India ; Nanak and Sirhindi: Sikhism and Sufism -- Disc 12. Han Yu to Zhu Xi: Neo-Confucianism ; Wang Yangming: The study of heart-mind -- Disc 13. Dogen and Hakuin: Zen Buddhism ; Zeami and Sen no Rikyu: Japanese aesthetics -- Disc 14. Wonhyo to King Sejong: Korean philosophy ; Padmasambhava to Tsongkhapa: Tibetan ideas -- Disc 15. Science and technology in premodern Asia ; Muhammad Iqbal and Rabindranath Tagore -- Disc 16. Mohandas Gandhi: Satyagraha, or soul-force ; Fukuzawa Yukichi and Han Yongun -- Disc 17. Kang Youwei and Hu Shi ; Sun Yat-sen and Mao Zedong -- Disc 18. Modern legacies ; East and West. (shrink)

“Atsumori” is a Noh play composed by master playwright Zeami sometime before 1423, featuring characters from the Tales of the Heike. Although popular to this day, the philosophical significance of the play remains underdeveloped and underappreciated. Prima facie, it features a ghost who is liberated thanks to the sincere prayer of the priest who killed him. Simplistic reading would yield simplistic understanding of the characters and their dynamism, and would fail to appreciate, for instance, the agency of the ghost (...) or the liberation of the priest. Accordingly, some regard the play as falling short of the highest aesthetic value, insofar as its protagonist fails to attain liberation through his own effort. Some even contend that the ulterior purpose of the play is to portray ghosts as powerless and desperate so that vanquishers need not fear vengeful ghosts. While it is possible that Zeami indeed held such ulterior intention and regarded it as second rank for the protagonist’s lack of agency, I shall present a different reading that would yield a richer appreciation of the characters and their dynamism. I do so by regarding the “friendship of dharma” that occurs at the culmination of the play as “existential communion” as presented in Tanabe Hajime’s later philosophy. That is, the play need not be read as a story about a living priest saving a dead warrior—it can be read as about two lost souls saving each other, through mutual acceptance, mutual sacrifice, and collaborative mediation of the Absolute. For this purpose, the paper first delineates Tanabe’s later philosophy with a focus on the idea of existential communion. Then it introduces “Atsumori” and discusses its philosophical significance. An impasse due to the scope of the play will be identified, which I call “the problem of epistemic authority,” and to fill the gap I will introduce and discuss another spin-off story featuring Atsumori. The paper intends to offer a philosophically richer reading of the play to invite readers to think deeply and creatively about Noh. (shrink)

This article discusses the transpersonal functions of masks in ritual and in drama therapy as expressed in the creative path of NohKiDo. NohKiDo, whose main components include the Prism of Consciousness , the Rainbow Method, Action Meditation techniques , and Therapeutic Noh Theater, is a therapeutic system developed by the author through the redefinition and interpretation of a set of transpersonal concepts based on Zeami’s original Noh formulation for Therapeutic Noh Theater. The most significant concepts of Ma , Mushin-no-kan (...) , Ichu no kei , and Riken no ken pertain especially to the transpersonal functions of masks. The main aim of a Therapeutic Noh Theater performance is to heighten the consciousness of its actors, as well as the members of its audience, to a transpersonal level; a Therapeutic Noh Theater performance of Born from Good Angel’s Tears is discussed as an example. The creative path of NohKiDo is introduced here as a lifelong journey to the spiritual, within and without, via masks, the arts, and creativity. (shrink)

Translated into English for the first time, leading Japanese philosopher, Nishihira Tadashi, explores the deeply experiential philosophy of losing yourself in the reality of the present. He takes us on a tour through the history of Zen, the gatekeeper of the philosophy of no-mind D.T. Suzuki, the Noh theory of Zeami and Takuan's treatise on swordsmanship. Nishihira pulls together the threads of this genealogy of no-mind, showing the richness of the concept and its essential connection to the paradoxical task (...) of becoming fully human. (shrink)

In this paper, I try to show how Japanese practices of self-cultivation found in the so-called “ways” can be interpreted as embodied forms of “caring for oneself ” and, therefore, as part of a philosophical Lebenskunst or art of living. To this end, I refer to phenomenological accounts of the body as well as to a unique notion of practice found in the writings of Dōgen Kigen, a thirteenth-century Japanese Zen master. Central to this essay is a concern with embodying (...) kata or pre-defined patterns of movement and posture used in nearly all practices of self-cultivation in Japan. To approach this question, I look at the etymological roots of the term kata and its use in the writings of Zeami, the foremost representative of classical Noh theater, both as author and as actor. This is followed by an analysis of certain aspects of the embodiment of kata and the way it is described in Japanese literature. (shrink)

In his 2013 book Kiku hito (English translation Homo audiens, 2022), composer and musicologist Jo Kondo (近藤譲) outlines his interpretation of music as the interrelationship between notes, each of which ‘has its own entity and life’ and yet is only meaningful in relationship with other notes, an assertion which echoes 15th-century nō (能) composers Zeami’s (世阿弥) and Zenchiku’s (禅竹) writings on the life and death of each note in a nō performance. Though in his own writing Kondo restricts himself (...) to the tradition of western aesthetics, in a 2023 interview he acknowledges that his system of musical interpretation is rooted in the Kegon (華厳) Buddhist concept of Indra’s Net (which illustrates the idea of ultimate reality as the ‘unimpeded interpenetration of phenomena and phenomena’ jiji muge hokkai 事事無礙法界). In this experimental paper, I will explore the aesthetic implications of this idea: is a listener’s interpretation of the relationships between sounds in a musical work (‘work’ defined as broadly as possible, inclusive of all forms of deep, active listening, from contemporary sound art to nō to Dōgen (道元) hearing a sūtra in the voices of monkeys) merely a metaphor for the ‘unimpeded interpenetration of phenomena and phenomena’, or is it an example of it? What are the implications for the interpretation of all types of music and sound art if sounds – like other nonsentient (hijō 非情) phenomena such as water and mountains – have Buddha-nature (busshō 仏性)? And does this interpretative frame have ethical implications for interpreters – listeners, composers, and performers – of music and sound-art in this age of imminent environmental collapse?. (shrink)

The formation of the discipline of intercultural philosophy reveals its “karmic aspects,” in which dynamic encounters of scholars and students lay its future courses and clear unexpected paths. What was it like for a Japanese female Junior Year Abroad Exchange student to be in the American academic environment in the early 1970s, and her subsequent experience at the University of California Santa Barbara? A slice of her early memories, as well as her observations regarding the present and future of Japanese (...) philosophy and intercultural philosophy in Japan and in the global context are presented in this essay, in which, while Raimon Panikkar and Ninian Smart figure largely, Nishida Kitarō is also significantly in the picture. The essay is a “conversation” with an invisible interlocutor. (shrink)