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Traces in the Way is simultaneously a critical interpretation of the writings of noh playwright and thinker Komparu Zenchiku (1407–1470); a refutation of received views of Japanese traditional arts (michi); and an analysis of medieval Japanese uses of texts. The disciplinary approach is broadly that of cultural studies, combining close reading, social contextualization, and drawing on multiple fields. The study is organized through the five elements that Konishi Jin'ichi's identified as essential to michi: specialization, transmission, conformity, universality and authority. Each of these is examined critically and revised, providing a basis from which Zenchiku's works can be elucidated. This new approach makes it possible to solve much that in conventional studies has remained puzzling about Zenchiku's works including the principles behind the works of classification, the purposes that resulted in the rokurin ichiro works, and the ideology present in the fragmentary work: Meishukushu. It becomes clear that Zenchiku, far from being a docile recipient of his teacher Zeami's legacy, combined Zeami's texts with those of other michi to radically reposition his own practice in the cultural fields of his day. Zenchiku drew on a range of legitimating styles to fashion a new rationale for performance, one adequate to changing patronage requirements, and appropriate to the circumstances of his troupe. In this position-taking, Zenchiku was strikingly successful, as is witnessed by the survival of the Komparu line through the chaotic century after his death. With this book we come to know a good deal about sarugaku's transmission in the fifteenth century; enough to remedy a facile idealization of Japanese michi.

Traces in the Way is simultaneously a critical interpretation of the writings of noh playwright and thinker Komparu Zenchiku (1407–1470); a refutation of received views of Japanese traditional arts (michi); and an analysis of medieval Japanese uses of texts. The disciplinary approach is broadly that of cultural studies, combining close reading, social contextualization, and drawing on multiple fields. The study is organized through the five elements that Konishi Jin'ichi's identified as essential to michi: specialization, transmission, conformity, universality and authority. Each of these is examined critically and revised, providing a basis from which Zenchiku's works can be elucidated. This new approach makes it possible to solve much that in conventional studies has remained puzzling about Zenchiku's works including the principles behind the works of classification, the purposes that resulted in the rokurin ichiro works, and the ideology present in the fragmentary work: Meishukushu. It becomes clear that Zenchiku, far from being a docile recipient of his teacher Zeami's legacy, combined Zeami's texts with those of other michi to radically reposition his own practice in the cultural fields of his day. Zenchiku drew on a range of legitimating styles to fashion a new rationale for performance, one adequate to changing patronage requirements, and appropriate to the circumstances of his troupe. In this position-taking, Zenchiku was strikingly successful, as is witnessed by the survival of the Komparu line through the chaotic century after his death. With this book we come to know a good deal about sarugaku's transmission in the fifteenth century; enough to remedy a facile idealization of Japanese michi.

This is the first comprehensive study of the noh plays of Komparu Zenchiku, an actor, playwright, and theoretician of noh drama in fifteenth-century Japan. A renowned performer in his own time, Zenchiku was rediscovered in the modern period as the author of numerous treatises on his art, which he studied under the tutelage of his father-in-law Zeami Motokiyo (1363-1443). Yet, Zenchiku is also a major playwright in the Japanese dramatic tradition, and his plays have only recently begun to receive the attention they deserve. Revealed Identity begins with an introduction on the cultural, philosophical, and sociopolitical contexts in which fourteen fascinating plays that have been attributed to Zenchiku were produced. The plays are then grouped into five thematic clusters: the relationship between humans and the nonsentient world, transgression and the suppression or subjugation of the demonic, divinity and its intersection with landscape and the abject, the figuration of female characters as 'women who wait', and delusion and ambiguity in works based on the classic, Tale of Genji. which is defined as a relentless nondualism coupled with a sense of drama as an opportunity to reveal the true nature of a character, rather than illustrating a transformation of that nature. In this regard, Zenchiku's attitude toward noh diverges from that of his contemporaries and challenges the classic western view of drama that defines it in terms of conflict and action.