Yamanaka Reiko, is professor at Hōsei University, Tokyo. She has published extensively on Zeami and on the history of the stage directions regarding individual nō plays.Monica Bethe, is director of the Medieval Japanese Studies Institute, Kyoto. Her research interprets nō as an interactive whole including the impact of masks and costumes.Eike Grossmann, is professor at the University of Hamburg. Her research areas include traditional theatre and folk performing arts, as well as the history of childhood and material culture. Tom Hare is professor at Princeton University. He has translated Zeami’s writings on training and performance, and publishes on medieval portrait inscriptions.Diego Pellecchia is associate professor at Kyoto Sangyō University. His research interests include nō training, performance, interactions between professionals and amateurs, and the reception of nō outside Japan.Michael Watson, is professor emeritus at Meiji Gakuin University, Tokyo. His research has centred on the Heike monogatari, nō drama, narratology, translation, and reception history.

• Volume 2PrefaceNotes to ReadersList of IllustrationsNotes on Contributors6 Treatises and CriticismEdited by Tamamura Kyō and Shelley Fenno Quinn6.1 Introduction (Tamamura Kyō)6.2 Zeami’s Treatises: an Overview (Shelley Fenno Quinn)6.3 Zeami as Philosopher: Who Makes the Flower Bloom? (Tamamura Kyō)6.4 Zenchiku’s Treatises and Criticism (Takahashi Yūsuke)6.5 Konparu Zenpō’s Treatises and Criticism (Ikai Takamitsu)6.6 Nō Treatises from the Late Muromachi to Edo Periods (Miyamoto Keizō)6.7 Modern Theories of Nō (Yokoyama Tarō)References7 Material Culture of Nō and KyōgenEdited by Eike Grossmann7.1 Introduction (Eike Grossmann)7.2 The Production of Costumes, Masks, and Fans (Monica Bethe)7.3 The Transmission of Masks: Carvers and Their Lineages (Adam Zollinger)7.4 Instruments: Artistic Value and Development of Their Forms (Takakuwa Izumi)7.5 Performance Spaces: History and Materiality of the Nō Stage (Miyamoto Keizō)7.6 Tsuke: Notes on Movements, Gestures, Music, and Stage Properties (Fukazawa Nozomi, Nakatsuka Yukiko, and Yamanaka Reiko)7.7 Utaibon for Amateurs and Connoisseurs (Ikai Takamitsu)7.8 Nō and Kyōgen Illustrations (Monica Bethe)7.9 Nō and Kyōgen Prints and Paintings in Modern Japan (Richard Smethurst)7.10 Nō Culture in Everyday Life: Koutaibon, Sugoroku, Karuta, Yubimen, Netsuke, and Nō Ningyō (Eike Grossmann)References8 ReceptionEdited by Diego Pellecchia and Yokoyama Tarō8.1 Introduction (Yokoyama Tarō)8.2 Reception of Nō in the Late Nineteenth and Early Twentieth Centuries (Diego Pellecchia)8.3 Nō and Modernism (Diego Pellecchia and Takeuchi Akiko)8.4 Nōgaku and Film (Kodama Ryūichi)8.5 Nō and Contemporary Theatre Abroad and in Japan (Diego Pellecchia and Yokoyama Tarō)8.6 Why Not Nō? (Reginald Jackson and Yokoyama Tarō)8.7 Nōgaku and Kabuki (Kodama Ryūichi)References9 KyōgenEdited by Monica Bethe9.1 Introduction (Monica Bethe)9.2 Plays, Plots, and Role Types (Jonah Salz)9.3 Dramaturgy (Jonah Salz)9.4 Costumes and Masks (Monica Bethe)9.5 Organization, Training, and Creativity (Jonah Salz)9.6 History (Monica Bethe)9.7 The Evolution of Texts (Taguchi Kazuo)9.8 Discourses (Taguchi Kazuo)9.9 Sagi kyōgen (Alex Rogals)9.10 Women in Kyōgen (Barbara Geilhorn)9.11 Inspiration, Fusion, and Form: Kyōgen outside Japan (Ondřej Hýbl)References10 Research OverviewEdited by Yamanaka Reiko, Tom Hare, and Michael Watson10.1 Introduction (Yamanaka Reiko)10.2 Research into Nō before the Meiji Period (Yamanaka Reiko)10.3 Nō Scholarship from the Meiji, Taishō, and Shōwa Periods to World War II (Tom Hare and Yamanaka Reiko)10.4 Postwar Studies of Nō (Yamanaka Reiko)10.5 The History of Nō Research and Translations in Western Languages: French, Italian, German, and English (Diego Pellecchia, Eike Grossmann, and Tom Hare)References11 Appendices11.1 Finding List for Nō Texts (Michael Watson)11.2 Summaries of Nō Plays (Nakatsuka Yukiko and Michael Watson, with contributions by Fukazawa Nozomi, Inoue Megumi, Hana Lethen, Pia Schmitt, Patrick Schwemmer, and Tomiyama Takahiro)11.3 Summaries of Kyōgen Plays (Monica Bethe)References (Michael Watson)GlossaryIndex

Yamanaka Reiko, is professor at Hōsei University, Tokyo. She has published extensively on Zeami and on the history of the stage directions regarding individual nō plays.Monica Bethe, is director of the Medieval Japanese Studies Institute, Kyoto. Her research interprets nō as an interactive whole including the impact of masks and costumes.Eike Grossmann, is professor at the University of Hamburg. Her research areas include traditional theatre and folk performing arts, as well as the history of childhood and material culture. Tom Hare is professor at Princeton University. He has translated Zeami’s writings on training and performance, and publishes on medieval portrait inscriptions.Diego Pellecchia is associate professor at Kyoto Sangyō University. His research interests include nō training, performance, interactions between professionals and amateurs, and the reception of nō outside Japan.Michael Watson, is professor emeritus at Meiji Gakuin University, Tokyo. His research has centred on the Heike monogatari, nō drama, narratology, translation, and reception history.

• Volume 2PrefaceNotes to ReadersList of IllustrationsNotes on Contributors6 Treatises and CriticismEdited by Tamamura Kyō and Shelley Fenno Quinn6.1 Introduction (Tamamura Kyō)6.2 Zeami’s Treatises: an Overview (Shelley Fenno Quinn)6.3 Zeami as Philosopher: Who Makes the Flower Bloom? (Tamamura Kyō)6.4 Zenchiku’s Treatises and Criticism (Takahashi Yūsuke)6.5 Konparu Zenpō’s Treatises and Criticism (Ikai Takamitsu)6.6 Nō Treatises from the Late Muromachi to Edo Periods (Miyamoto Keizō)6.7 Modern Theories of Nō (Yokoyama Tarō)References7 Material Culture of Nō and KyōgenEdited by Eike Grossmann7.1 Introduction (Eike Grossmann)7.2 The Production of Costumes, Masks, and Fans (Monica Bethe)7.3 The Transmission of Masks: Carvers and Their Lineages (Adam Zollinger)7.4 Instruments: Artistic Value and Development of Their Forms (Takakuwa Izumi)7.5 Performance Spaces: History and Materiality of the Nō Stage (Miyamoto Keizō)7.6 Tsuke: Notes on Movements, Gestures, Music, and Stage Properties (Fukazawa Nozomi, Nakatsuka Yukiko, and Yamanaka Reiko)7.7 Utaibon for Amateurs and Connoisseurs (Ikai Takamitsu)7.8 Nō and Kyōgen Illustrations (Monica Bethe)7.9 Nō and Kyōgen Prints and Paintings in Modern Japan (Richard Smethurst)7.10 Nō Culture in Everyday Life: Koutaibon, Sugoroku, Karuta, Yubimen, Netsuke, and Nō Ningyō (Eike Grossmann)References8 ReceptionEdited by Diego Pellecchia and Yokoyama Tarō8.1 Introduction (Yokoyama Tarō)8.2 Reception of Nō in the Late Nineteenth and Early Twentieth Centuries (Diego Pellecchia)8.3 Nō and Modernism (Diego Pellecchia and Takeuchi Akiko)8.4 Nōgaku and Film (Kodama Ryūichi)8.5 Nō and Contemporary Theatre Abroad and in Japan (Diego Pellecchia and Yokoyama Tarō)8.6 Why Not Nō? (Reginald Jackson and Yokoyama Tarō)8.7 Nōgaku and Kabuki (Kodama Ryūichi)References9 KyōgenEdited by Monica Bethe9.1 Introduction (Monica Bethe)9.2 Plays, Plots, and Role Types (Jonah Salz)9.3 Dramaturgy (Jonah Salz)9.4 Costumes and Masks (Monica Bethe)9.5 Organization, Training, and Creativity (Jonah Salz)9.6 History (Monica Bethe)9.7 The Evolution of Texts (Taguchi Kazuo)9.8 Discourses (Taguchi Kazuo)9.9 Sagi kyōgen (Alex Rogals)9.10 Women in Kyōgen (Barbara Geilhorn)9.11 Inspiration, Fusion, and Form: Kyōgen outside Japan (Ondřej Hýbl)References10 Research OverviewEdited by Yamanaka Reiko, Tom Hare, and Michael Watson10.1 Introduction (Yamanaka Reiko)10.2 Research into Nō before the Meiji Period (Yamanaka Reiko)10.3 Nō Scholarship from the Meiji, Taishō, and Shōwa Periods to World War II (Tom Hare and Yamanaka Reiko)10.4 Postwar Studies of Nō (Yamanaka Reiko)10.5 The History of Nō Research and Translations in Western Languages: French, Italian, German, and English (Diego Pellecchia, Eike Grossmann, and Tom Hare)References11 Appendices11.1 Finding List for Nō Texts (Michael Watson)11.2 Summaries of Nō Plays (Nakatsuka Yukiko and Michael Watson, with contributions by Fukazawa Nozomi, Inoue Megumi, Hana Lethen, Pia Schmitt, Patrick Schwemmer, and Tomiyama Takahiro)11.3 Summaries of Kyōgen Plays (Monica Bethe)References (Michael Watson)GlossaryIndex