{"id":194,"date":"2015-08-13T11:09:27","date_gmt":"2015-08-13T15:09:27","guid":{"rendered":"https:\/\/sites.bu.edu\/learningtokneel\/?page_id=194"},"modified":"2016-01-11T15:45:23","modified_gmt":"2016-01-11T20:45:23","slug":"glossary-test-1","status":"publish","type":"page","link":"https:\/\/sites.bu.edu\/learningtokneel\/glossary-test-1\/","title":{"rendered":"Glossary"},"content":{"rendered":"

<\/a>
\nai<\/em>: ky\u014dgen actor who retells the story during the interlude of noh<\/p>\n

<\/a>benshi <\/em>or katsuben<\/em>: film narrator who stood or knelt to the left of the screen in full view of the audience and interpreted the film<\/p>\n

<\/a>bud\u014d<\/em>: samurai <\/em>warrior arts<\/p>\n

<\/a>bunraku<\/em>: Japanese puppet theater<\/p>\n

<\/a>bushido<\/em>: term for the austere samurai warrior code in Edo or Tokugawa Japan; also the title of a play produced by the Washington Square Players in 1916<\/p>\n

<\/a>butoh<\/em>: modern form of Japanese dance that features extreme bodily tension<\/p>\n

<\/a>chado<\/em>: tea ceremony<\/p>\n

<\/a>chigo<\/em>: adolescent acolytes of Buddhist priests<\/p>\n

<\/a>Chigo monogatari<\/em> (tales of acolytes): literary form that emphasized a monk\u2019s spiritual and physical relationship with the chigo<\/em><\/p>\n

<\/a>daimyo<\/em>: Japanese feudal lord<\/p>\n

<\/a>doji<\/em>: temple acolyte; the first apparition in the noh play Tamura<\/em><\/p>\n

<\/a>eboshi<\/em>: formal Japanese hat<\/p>\n

<\/a>Gagaku<\/em>: old court music<\/p>\n

<\/a>giri<\/em>: ancient codes of honor followed by samurai <\/em>warriors<\/p>\n

<\/a>hashigakari<\/em>: bridgeway that extends roughly eight meters from stage right, used for the entrance of actors<\/p>\n

<\/a>hashira<\/em>: the pillars in each of the four corners of the square noh stage<\/p>\n

<\/a>hayashi<\/em>: noh orchestra<\/p>\n

<\/a>higashi<\/em>: decorated confectionery<\/p>\n

<\/a>hiranori<\/em>: common noh rhythmic structure in which the (usually) twelve syllables of poetry are distributed over an eight-beat pattern<\/p>\n

<\/a>hokubun<\/em>: full-ranked performer of noh<\/p>\n

<\/a>hosonuno<\/em>: a narrow cloth made of woven feathers that came to symbolize unrequited love<\/p>\n

<\/a>iemoto<\/em>: family head of one of the five noh schools (ry\u016b<\/em>)<\/p>\n

<\/a>issei<\/em>: ornate verse pattern (sh\u014ddan<\/em>) typically sung by the entering shite<\/em><\/p>\n

<\/a>jidaigeki<\/em>: films about samurai<\/p>\n

<\/a>jiutai<\/em>: noh chorus of eight to ten performers who kneel stage left<\/p>\n

<\/a>Jiy\u016b Gekij\u014d<\/em>: Free Theater founded in 1909 for the purpose of staging western dramas <\/p>\n

<\/a>kagura<\/em>: sacred dance that, in Takasago<\/em>, serves as a manifestation of the perfect sovereign <\/p>\n

<\/a>kaishi<\/em>: thin paper<\/p>\n

<\/a>kakagoe<\/em>: noh drum calls<\/p>\n

<\/a>kakikurasu<\/em>: tormented\/darkened<\/p>\n

<\/a>kamae <\/em>or kitachi <\/em>posture: standard posture of the noh performer; knees slightly bent, pelvis tipped forward, arms held forward and away from the body <\/p>\n

<\/a>kana<\/em>: Japanese written characters<\/p>\n

<\/a>kata<\/em>: precise movement patterns or gestural sequences in noh <\/p>\n

<\/a>Kawanakajima<\/em>: location of the legendary battle of the Takeda and Uesugi samurai clans in 1561<\/p>\n

<\/a>kenbu<\/em>: Japanese sword dance<\/p>\n

<\/a>kenkin noh<\/em>: plays performed to benefit the war effort<\/p>\n

<\/a>kensho<\/em>: audience configuration with seating on three sides of the noh stage<\/p>\n

<\/a>kiri<\/em>: closing section of a noh play<\/p>\n

<\/a>kitsune<\/em>: legendary Japanese fox<\/p>\n

<\/a>kokata<\/em>: child actor<\/p>\n

<\/a>koken<\/em>: stage assistants who kneel at the back of the noh stage<\/p>\n

<\/a>kokorogake<\/em>: the \u201cmental attitude\u201d associated with the instruction in samurai warrior arts (bud\u014d<\/em>)<\/p>\n

<\/a>kotsuzumi<\/em>: shoulder drum in the noh orchestra or hayashi<\/em><\/p>\n

<\/a>Kuannon<\/em>: Sino-Japanese spirit of mercy<\/p>\n

<\/a>kuden<\/em>: tradition<\/p>\n

<\/a>kurogo<\/em>: \u201cman-in-black;\u201d stage assistant who is \u201cinvisible\u201d by Japanese performance conventions<\/p>\n

<\/a>kyakurai<\/em>: \u201cthe effect of doubling back;\u201d term used by Zeami for the enlightened return to the y\u016bgen <\/em>of boyhood<\/p>\n

<\/a>ky\u014dgen<\/em>: Japanese comedic plays that are often presented as interludes between noh plays and parody their style<\/p>\n

<\/a>mai<\/em>: dance<\/p>\n

<\/a>mie <\/em>or kimaru<\/em>: codified poses struck at emotional moments during a kabuki play <\/p>\n

<\/a>mo<\/em>: \u201cno” or “not\u201d<\/p>\n

<\/a>modanizumu<\/em>: term derived from “modernism” that signaled a style of artistic expression, powerful idea about modernity, and source of popular fashion in Japan from roughly 1910-1940<\/p>\n

<\/a>monoguruimono<\/em>: fourth category noh plays about mad people<\/p>\n

<\/a>montsuki<\/em>: formal Japanese dress worn during informal noh performances <\/p>\n

<\/a>mugen noh<\/em>: dream play<\/p>\n

<\/a>naga-bakama<\/em>: long trousers<\/p>\n

<\/a>nanori<\/em>: a naming verse typically used to introduce an actor<\/p>\n

<\/a>natori<\/em>: “naming” or formal initiation in which the student usually receives an artistic tite with the school (ry\u016b) as the family name<\/p>\n

<\/a>nihon buyo<\/em>: classical Japanese dance<\/p>\n

<\/a>Nihon n\u014dgakukai<\/em>: Japanese Noh Society<\/p>\n

<\/a>nimaime:<\/em> \u201csecond\u201d or good-hearted but flawed romantic character in kabuki<\/p>\n

<\/a>Nippon Gakujutsu Shink\u014dkai<\/em>: Japan Society for the Promotion of Science<\/p>\n

<\/a>nishikigi<\/em>: \u201cbrocade trees\u201d or decorated sticks that serve as love charms; title of a noh play<\/p>\n

<\/a>n\u014dkan or fue<\/em>: flute in the noh orchestra or hayashi<\/em><\/p>\n

<\/a>oi-matsu<\/em>: large pine tree painted on the back wall of the noh theater<\/p>\n

<\/a>omiai<\/em>: arranged meeting or marriage<\/p>\n

<\/a>omugaeshi<\/em>: \u201cparrot-like repetition;\u201d imitative pedagogy of the noh lesson<\/p>\n

<\/a>onna mai<\/em>: in nihon buyo, dances of women<\/p>\n

<\/a>otoko mai<\/em>: dances of men <\/p>\n

<\/a>\u014dtsuzumi<\/em>: hip drum in the noh orchestra or hayashi<\/em><\/p>\n

<\/a>\u014dzay\u016b<\/em>: zigzag stepping kata<\/em> or noh movement form<\/p>\n

<\/a>rensageki<\/em>: chain dramas or popular early Japanese films that juxtaposed live performances of kabuki with filmed scenes<\/p>\n

<\/a>ry\u016b<\/em>: schools or guilds dedicated to the study of Japanese arts; there are five such schools in noh<\/p>\n

<\/a>sashi koye<\/em> (sashi-koe<\/em>): \u201cflow-along tune;\u201d a type of sashi <\/em> sung in a smooth manner<\/p>\n

<\/a>say\u016b<\/em>: common kata<\/em> for concluding a noh dance<\/p>\n

<\/a>seiza<\/em>: kneeling with legs folded underneath the body, buns resting on heels<\/p>\n

<\/a>sensu: <\/em>small folding fans<\/p>\n

<\/a>seppuku(o)<\/em>: ritual suicide<\/p>\n

<\/a>shigin<\/em>: style of reciting classical poems<\/p>\n

<\/a>shikake-hiraki<\/em>: common noh kata<\/em> beginning with a forward step and point followed by a step back as arms open<\/p>\n

<\/a>shikisanban<\/em>: “three rites;” plays considered particularly sacred that traditionally require performers to engage in a period of \u201cpurification\u201d<\/p>\n

<\/a>shiori<\/em>: kata<\/em> for weeping; hand sweeps to corner of the eye<\/p>\n

<\/a>shimai<\/em>: noh dance<\/p>\n

<\/a>shingeki<\/em>: Japanese modern theater or \u201cnew drama\u201d<\/p>\n

<\/a>Shinkyo Gekidan<\/em>: New Cooperative Theater Company<\/p>\n

<\/a>shite<\/em>: central actor or soloist in noh<\/p>\n

<\/a>sh\u014ddan<\/em>: noh verse pattern or song <\/p>\n

<\/a>sh\u014dshimingeki<\/em>: films about ordinary people in modern Japan<\/p>\n

<\/a>shud\u014d<\/em>: \u201cthe way of (loving) youths;\u201d not to be misunderstood as a sexual identity<\/p>\n

<\/a>suriashi<\/em>: “sliding foot;” the noh walking step<\/p>\n

<\/a>taiko<\/em>: stick drum in the noh orchestra or hayashi<\/em><\/p>\n

<\/a>taiyu<\/em>: master actor<\/p>\n

<\/a>tanka<\/em>: similar to a haiku<\/em> with two additional lines of seven syllables<\/p>\n

<\/a>tateyaku<\/em>: \u201cstanding role\u201d or leading man in a kabuki play<\/p>\n

<\/a>tennin<\/em>: celestial spirit; in Hagoromo<\/em>, the angel from the palace of the moon <\/p>\n

<\/a>t\u014ditsu imeiji<\/em>: \u201cunifying image\u201d<\/p>\n

<\/a>Tokugawa bakufu<\/em>: rulers during the Edo or Tokugawa period (1600-1867)<\/p>\n

<\/a>Tsukiji Sh\u014dgekijo<\/em>: Tsukiji Little Theater; often cited as \u201cJapan\u2019s First Modern Theater\u201d<\/p>\n

<\/a>tsukizerifu<\/em>: noh verse pattern announcing \u201cwe have arrived\u201d<\/p>\n

<\/a>tsukurimono<\/em>: \u201cbuilt thing;\u201d noh stage properties usually made with wrapped bamboo and little attempt to look real<\/p>\n

<\/a>tsure<\/em>: companion<\/p>\n

<\/a>ukiyoe<\/em>: Japanese wood prints<\/p>\n

<\/a>utaibon<\/em>: books of noh text or libretto<\/p>\n

<\/a>utai<\/em>: noh chant<\/p>\n

<\/a>wagashi<\/em>: delicate confectionary traditionally served with tea<\/p>\n

<\/a>wakashu<\/em>: apprentices of samurai<\/em>\/nenja<\/em> warriors<\/p>\n

<\/a>waki<\/em>: witness role in noh, often a traveling monk<\/p>\n

<\/a>wakizure<\/em>: companion(s) of the waki<\/em><\/p>\n

<\/a>y\u016bgen<\/em>: the profound, mysterious, and elegant beauty associated with noh <\/p>\n

<\/a>Z\u014d-onna<\/em> mask: noh worn by young women and divinities<\/p>\n","protected":false},"excerpt":{"rendered":"

ai: ky\u014dgen actor who retells the story during the interlude of noh benshi or katsuben: film narrator who stood or knelt to the left of the screen in full view of the audience and interpreted the film bud\u014d: samurai warrior arts bunraku: Japanese puppet theater bushido: term for the austere samurai warrior code in Edo […]<\/p>\n","protected":false},"author":4338,"featured_media":0,"parent":0,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/pages\/194"}],"collection":[{"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/users\/4338"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/comments?post=194"}],"version-history":[{"count":27,"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/pages\/194\/revisions"}],"predecessor-version":[{"id":468,"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/pages\/194\/revisions\/468"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/learningtokneel\/wp-json\/wp\/v2\/media?parent=194"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}