Seami on the Art of the No

Seami on the Art of the No -...

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"Seami on the Art of the No": 1. What do you believe "no action" is in pertaining to modern theater? What are some other examples of "no action" in works outside of plays? How does "no action" add to what is going on? "Sotoba Komachi": 1. What kind of legacy does the story portray for Komachi, and how was this similar to in past stories? (a.k.a. How does the story speak of how she is remembered by others?) 2. If love is considered a great thing in most cultures, why then is Komachi tortured by the soul of the man who died that loved her?
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Unformatted text preview: "Atsumori": 1. Why is Atsumori still a wandering spirit and has not passed on to his next life? "The Damask Drum": 1. The loving elderly man comes back as a demon spirit after he dies and torments the one he loved again. With the idea of Buddhist impermanence, why then does a spirit's love continue to torment someone after death? 2. What was/were a connecting theme(s) between the three plays for this reading (Sotoba Komachi; Atsumi; The Damask Drum)? What were some obvious differences?...
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This note was uploaded on 04/12/2008 for the course MODL 398 taught by Professor Amano during the Spring '08 term at UNL.

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