4 Zhao Ruhui

Sunday morning, I was waiting for Joey at Davis Square.




This week, by studying different kinds of Japanese art forms (Noh theatre, tea ceremony, judo, calligraphy…), I find it noteworthy to think about these art forms as a expressions of religion belief (spirituality). One great characteristic is that people perform these arts so properly and formally, strictly obeying all the traditional rules (Zen, 91). Due to the nothingness and incompleteness of the nature, people practice in these spiritual activities to show their “stillness” and accomplishment in this changing world (Zen, 90). “Noh drama is no drama” (Inouye, 68); people use Noh to show a formal “moment” with statics or even eternity, as a contradictory respond to emptiness. During performing, both actors and audience can empty their mind containing other thoughts and simply focus on Noh state­– focus on the nothingness of every moment.

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2 Responses to 4 Zhao Ruhui

  1. I also almost wrote my haiku about footprints. I thought the fact that the pressure from someone’s body would instantaneously change the shape and state of the snow with each step seemed to encompass evanescence and form; perhaps for you as well. I felt like I hadn’t quite grasped the idea of Noh theater, but your thought on how acting could allow someone to empty their mind helped me to understand it better.

  2. Tommy To says:

    I loved the tie-in you made between Japan’s strict formality of ritualistic spirituality and their artistic culture. Noh theater depicts itself through strict, traditionalistic forms of acting, mastered through years of expressing without expressing. By noting the similarity between Noh theater and spiritual practice, you really showed just how deep Japanese tradition and formality exists within the folds of its culture and people.

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