Zeami attempted to resolve this by adopting elements of other art forms, including chiefly kusemai, and the Ômi troupes' emphasis on cultivating an aesthetic mood of yûgen (mysterious beauty), refashioning these elements as he incorporated them, so as to maintain Yamato traditions and styles of performance, while making Yamato performance more sophisticated and appealing to Kyoto audiences.Zeami began writing the earliest and today most famous of his treatises, the Fûshikaden ("Transmission of the Flower, Forms, and Style"), in 1400; much was completed within the following two years, but the latest portions of the text are dated 1418. He was succeeded as head of the Kanze school in 1422 by his son, Kanze Motomasa.Titles of currently performed plays are given in (ō, ū).
This page began as a guide to noh translations, but now encompasses other matters (e-texts, authorship, status of plays in the repertory of schools).
Each entry begins with a title in romanization and in Japanese characters.
The five schools are given in their conventional order: Kanze 観世, Hōshō 宝生, Komparu 金春, Kongō 金剛, Kita 喜多.
Plays that are not in the modern repertory are indicated as "[bangai]" for 番外謡曲.
Zeami was born Hata no Motokiyo, the son of performer Kan'ami, with whom he was invited at a young age to become a court performer in service to Shogun Ashikaga Yoshimitsu.
While at the shogun's court, and charged with organizing entertainments, Motokiyo and his father developed rural dances known as sarugaku into the beginnings of what is now known as Noh theatre or Noh drama.Zeami was an actor, troupe leader, playwright and theatre theorist, generally considered the founder of Noh drama.He is considered the original author of many plays prominent in the Noh repertoire, as well as several secret treatises on performance, in which he articulates numerous concepts later incorporated into kabuki, jôruri puppet theatre, and other art forms, including the concept of jo-ha-kyû, and that of "the flower," an almost indefinable quality which marks the greatest of performances, and which is that which captures the audience's interest.Thus, the five categories of plays, and the identification of the actors or roles as shite, waki, and tsure, to name just a few examples, are not referred to explicitly as such in Zeami's writings, but rather develop out of his teachings.), some newer compositions, and other plays of interest.Under (J), citations of print editions are being added slowly, but most entries now have a link to a full Japanese electronic text.Though based on a 1928 edition, these are handy for searches and reference--not least in giving quick access to information about the identity of the , etc.Though some excerpts of the other texts did end up leaking out and circulating in either manuscript or published form over the centuries, it is for this reason that these works in their entireties were almost entirely unknown for hundreds of years, and were not published in anything resembling a complete form until 1909.In his writings on performance and training, Zeami wrote chiefly for the "primary actor," what would later come to be known as the shite.Most of his writings on performance were originally conceived as secret transmissions, to be treasured and guarded, and passed down only within the lineage of the Kanze school.One exception is the Shûdôsho ("Learning the Profession"), which was meant for widespread circulation from the beginning, and which was published in a popularly accessible woodblock book form in 1772 by Kanze Motoakira (1722-1774).