Aesthetics and Ethics in the Reception of Noh Theatre in the West. / Pellecchia, Diego.

2012. 229 p.

Research output: ThesisDoctoral Thesis

Unpublished

Standard

Aesthetics and Ethics in the Reception of Noh Theatre in the West. / Pellecchia, Diego.

2012. 229 p.

Research output: ThesisDoctoral Thesis

Harvard

Pellecchia, D 2012, 'Aesthetics and Ethics in the Reception of Noh Theatre in the West', Ph.D., Royal Holloway, University of London. <http://nohtheatre.wordpress.com/>

APA

Vancouver

Author

BibTeX

@phdthesis{cdb28eaabc0c4dba9b792aaa140186d6,
title = "Aesthetics and Ethics in the Reception of Noh Theatre in the West",
abstract = "Arguing that fundamental aesthetic elements of Noh are deeply imbued with ethical qualities, the thesis describes how, throughout the different socio-economic scenarios that marked the transition of Japan and the West to new phases of modernity, Noh became part of an international debate on theatre and ethics. Since the beginning of the twentieth century, European practitioners such as Yeats, Pound, Copeau and Brecht sought to {\textquoteleft}restore{\textquoteright} theatre by returning to ideals of honesty and spirituality that were thought to be lost as a consequence of the rise of bourgeois materialism. The promotion of Noh in Japan and its reception abroad was appropriated both by right and left wing political discourses that provided contrasting and converging interpretations of its theory and practice. With the advent of {\textquoteleft}interculturalism{\textquoteright} Noh was inscribed in a renewed ethical rubric, and became part of a return to the {\textquoteleft}spiritual{\textquoteright} dimension of Asian theatre by practitioners such as Yoshi Oida and Eugenio Barba. However, today Noh is still enmeshed in misconstructions that limit its understanding: drawing on historical research and ethnographic fieldwork, this thesis uses ethical criticism (Carroll, Cooper, Gaut) and Watsuji Tetsurō{\textquoteright}s thought in order to analyse past and present reception of Noh, shedding light on the inextricability of the aesthetics and ethics of Noh and seeking to provide a balanced view of individual/communitarian and spiritual/secular dimensions of its contemporary practice, thus placing Noh within the broader perspective of a global discussion of theatre and ethics.",
keywords = "Noh, Theatre, Japan, ETHICS, aesthetics, reception , Interculturalism, History",
author = "Diego Pellecchia",
year = "2012",
language = "English",
school = "Royal Holloway, University of London",

}

RIS

TY - THES

T1 - Aesthetics and Ethics in the Reception of Noh Theatre in the West

AU - Pellecchia, Diego

PY - 2012

Y1 - 2012

N2 - Arguing that fundamental aesthetic elements of Noh are deeply imbued with ethical qualities, the thesis describes how, throughout the different socio-economic scenarios that marked the transition of Japan and the West to new phases of modernity, Noh became part of an international debate on theatre and ethics. Since the beginning of the twentieth century, European practitioners such as Yeats, Pound, Copeau and Brecht sought to ‘restore’ theatre by returning to ideals of honesty and spirituality that were thought to be lost as a consequence of the rise of bourgeois materialism. The promotion of Noh in Japan and its reception abroad was appropriated both by right and left wing political discourses that provided contrasting and converging interpretations of its theory and practice. With the advent of ‘interculturalism’ Noh was inscribed in a renewed ethical rubric, and became part of a return to the ‘spiritual’ dimension of Asian theatre by practitioners such as Yoshi Oida and Eugenio Barba. However, today Noh is still enmeshed in misconstructions that limit its understanding: drawing on historical research and ethnographic fieldwork, this thesis uses ethical criticism (Carroll, Cooper, Gaut) and Watsuji Tetsurō’s thought in order to analyse past and present reception of Noh, shedding light on the inextricability of the aesthetics and ethics of Noh and seeking to provide a balanced view of individual/communitarian and spiritual/secular dimensions of its contemporary practice, thus placing Noh within the broader perspective of a global discussion of theatre and ethics.

AB - Arguing that fundamental aesthetic elements of Noh are deeply imbued with ethical qualities, the thesis describes how, throughout the different socio-economic scenarios that marked the transition of Japan and the West to new phases of modernity, Noh became part of an international debate on theatre and ethics. Since the beginning of the twentieth century, European practitioners such as Yeats, Pound, Copeau and Brecht sought to ‘restore’ theatre by returning to ideals of honesty and spirituality that were thought to be lost as a consequence of the rise of bourgeois materialism. The promotion of Noh in Japan and its reception abroad was appropriated both by right and left wing political discourses that provided contrasting and converging interpretations of its theory and practice. With the advent of ‘interculturalism’ Noh was inscribed in a renewed ethical rubric, and became part of a return to the ‘spiritual’ dimension of Asian theatre by practitioners such as Yoshi Oida and Eugenio Barba. However, today Noh is still enmeshed in misconstructions that limit its understanding: drawing on historical research and ethnographic fieldwork, this thesis uses ethical criticism (Carroll, Cooper, Gaut) and Watsuji Tetsurō’s thought in order to analyse past and present reception of Noh, shedding light on the inextricability of the aesthetics and ethics of Noh and seeking to provide a balanced view of individual/communitarian and spiritual/secular dimensions of its contemporary practice, thus placing Noh within the broader perspective of a global discussion of theatre and ethics.

KW - Noh

KW - Theatre

KW - Japan

KW - ETHICS

KW - aesthetics

KW - reception

KW - Interculturalism

KW - History

M3 - Doctoral Thesis

ER -