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Japanese Noh theatre has evolved over the last several centuries from a rural dance to mark sacred festivals to a stylized performance for the elite to a performance that serves as a window to the cultural history of Japan. From the beginning, Noh performances and training had religious associations. This posting purports that the text of Noh originates from the Japanese religions of Zen Buddhism, Amidism, and Shinto whereas the actual performance incorporates only the style of the Zen sect of Buddhism (George, 1999). While the text is the root of the Noh, the literature would have remained lifeless if it had not been for the influence of Zen on the performance. Western culture has recently become more aware of Eastern culture and specifically Zen teachings. As George (1999) set out to accomplish in his book, Buddhism as/in Performance, the performance of Noh can be seen as a way of reaching Zen’s enlightenment of satori. A moment of satori should leave the enlightened wanting more, therefore, the practice of Zen commences (George, 1999). Just as a Noh actor may have a moment of what Noh actor, theorist, and teacher Zeami calls hana, or flower, during a performance, this momentary enlightenment should push the actor to continue the training and discipline of Noh.
Leann Findley.
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