4 Hanyao Zhang


After reading the The Nō Plays of Japan, I watched the Noh Theater video again because I thought I can could have a different feeling and maybe deeper understanding of the play after I read its script. The second time of watching does its work. I realize that, compared to presenting the story to audiences, the Noh Theater is much more focused on the kata of its play. The steps, singing and even those small gestures like tilting of the head are presented in certain forms. So here I have a question: why does the Noh Theater shows the nothingness? How can nothingness have a form? In Evanescence and Form, it said, “The fixed leads to the brilliant fluid” (Inouye 66). This gives me a hint to think about the fluidity of the Noh Theater. I think the futility does not mean physical movements or visible expressions. In the play, the climax is still and silent. There is no physical movement but the audience’s heart and mind are working. When everything is still, it gives the empty space to the mind to move on. The repetition of the form settles everything on the stage down (even something that are not on the stage).  The form fixed the movement. The still and silence give the nothingness.

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