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From the Editors

From the Editors 1ATJ_i-x 1/8/07 4:20 PM Page v I have followed the example of my predecessor, editor Samuel Leiter, in inviting two guest editors to focus on a specific topic. Julie Iezzi and Jonah Salz have shared both their research and inspired a “kyögen boom” among our contributors. Their energy, patience, and passion have made this issue a reality. I thank them for their work. K athy Foley University of California—Santa Cruz From the Guest Editors KYÖGEN L eaps out of N Ö’ S Shadow Kyögen, meaning “wild, specious words,” are often denigrated as “comic interludes” to the more serious nö, with which they’ve been coupled for more than six hundred years. Derived from sangaku “ vari- ety show” performances imported in the twelfth and thirteenth cen- turies from China, kyögen’s sharp satire, realistic portrayals of living tar- gets, and obscene skits gradually became smoothed and codified into a gentle formal comedy during the Edo period (1603–1867), when nö and kyögen were designated the “ceremonial performance” (shikigaku) of the shogunate. Yet the 250 plays in the current kyögen repertoire dis- play a wit, sparkle, and verve that have the power to entertain today, spanning slapstick farce, gentle satire, comedy of manners, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

From the Editors

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2007 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

1ATJ_i-x 1/8/07 4:20 PM Page v I have followed the example of my predecessor, editor Samuel Leiter, in inviting two guest editors to focus on a specific topic. Julie Iezzi and Jonah Salz have shared both their research and inspired a “kyögen boom” among our contributors. Their energy, patience, and passion have made this issue a reality. I thank them for their work. K athy Foley University of California—Santa Cruz From the Guest Editors KYÖGEN L eaps out of N Ö’ S Shadow Kyögen, meaning “wild, specious words,” are often denigrated as “comic interludes” to the more serious nö, with which they’ve been coupled for more than six hundred years. Derived from sangaku “ vari- ety show” performances imported in the twelfth and thirteenth cen- turies from China, kyögen’s sharp satire, realistic portrayals of living tar- gets, and obscene skits gradually became smoothed and codified into a gentle formal comedy during the Edo period (1603–1867), when nö and kyögen were designated the “ceremonial performance” (shikigaku) of the shogunate. Yet the 250 plays in the current kyögen repertoire dis- play a wit, sparkle, and verve that have the power to entertain today, spanning slapstick farce, gentle satire, comedy of manners,

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Mar 12, 2007

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