, also called , was a Japanese aesthetician, actor, and playwright.

His father, Kan'ami Kiyotsugu, introduced him to Noh theater performance at a young age, and found that he was a skilled actor. Kan'ami was also skilled in acting and formed a family theater ensemble. As it grew in popularity, Zeami had the opportunity to perform in front of the Shōgun, Ashikaga Yoshimitsu. The Shōgun was impressed by the young actor and began a close relationship with him. Although some think that due to the prevalence of exploration of male love in Noh plays that the two may have had an intimate relationship, the veracity of this has never truly been proven. Zeami was introduced to Yoshimitsu's court and was provided with an education in classical literature and philosophy while continuing to act. In 1374, Zeami received patronage and made acting his career. After the death of his father in 1385, he led the family troupe, a role in which he found greater success.

Zeami mixed a variety of Classical and Modern themes in his writing and made use of Japanese and Chinese traditions. He incorporated numerous themes from Zen Buddhism into his works and later commentators have debated the extent of his personal interest in Zen. The exact number of plays that he wrote is unknown, but is likely to be between 30 and 50. He wrote many treatises about Noh, discussing the philosophy of performance. These treatises are the oldest known works on the philosophy of drama in Japanese literature, but did not see popular circulation until the 20th century.

After the death of Yoshimitsu, his successor Ashikaga Yoshimochi was less favorable to Zeami's drama. Zeami successfully sought out patronage from wealthy merchants and continued his career under their support. He became well-known and well-respected in Japanese society. Ashikaga Yoshinori became hostile toward Zeami after becoming Shōgun in 1429. Yoshinori held Zeami's nephew Onnami in high regard, and disagreed with Zeami's refusal to declare Onnami his successor as leader of his troupe. Possibly due to this disagreement, though a variety of competing theories have been advanced, Yoshinori sent Zeami into exile to Sado Island. After Yoshinori's death in 1441, Zeami returned to mainland Japan, where he died in 1443.

Early life

Zeami was born in 1363 A later genealogy mentions his mother as the daughter of a priest and a military official, but it is not deemed reliable. His father Kanami led a theater troupe before becoming popular in the late 1360s and early 1370s. As they became better-known, Kanami's troupe began to perform in Daijogi.

Ebina no Naami, an adviser of the Shōgun Ashikaga Yoshimitsu, booked the troupe to perform for the Shōgun, who was then 17 years old. The Shōgun was highly attracted to Zeami, which proved controversial among aristocrats due to Zeami's lower-class background. Yoshimitsu regularly invited Kanami and Zeami to the court, and Zeami accompanied him to events. Due to his connection with the Shōgun, Zeami was provided with a classical education by court statesman and poet Nijo Yoshimoto. Nijo was renowned for his skill as a Renga and taught Zeami about literature, poetry, and philosophy. This type of education was very unusual for an actor: due to their lower-class backgrounds, actors generally received little education. and he began to lead the troupe after his father's death in 1385. The troupe became successful during his tenure as a leader. While leading the troupe, he wrote the first Japanese treatises on pragmatic aesthetics. His intellectual interests were eclectic The Tale of the Heike was the source of several of his best known plays. He integrated Japanese and Chinese ancient poetry into his drama. Contemporary dramatists Doami and Zoami had a significant influence on him, He mixed popular dance, drama, and music with classical poetics and thus broadened and popularized the classical tradition.

One of the most important performances of Zeami's career occurred in 1394. At that time, Ashikaga Yoshimitsu visited the Kasuga shrine in Nara and Zeami performed during the visit. It was a significant political event, so Zeami was likely a well known artist by this time. He gave two significant performances for the Shōgun in 1399, one of which could have been attended by Emperor Go-Komatsu.

Zeami found Yoshimitsu to be a difficult patron, but the new Shōgun, Yoshimochi, was indifferent to Zeami and preferred the dengaku work of Zoami. He eventually reached celebrity status and wrote a significant amount between 1418 and 1428. The following are universally attributed to Zeami:

  • Akoya no Matsu, currently not in the noh repertoire
  • Atsumori
  • Hanjo
  • Izutsu, probably written in the late 1420s or early 1430s
  • Kinuta, probably written in the early 1430s
  • Matsukaze, using a section by Kan'ami
  • Saigyo Zakura
  • Sekidera Komachi
  • Tadanori
  • Takasago
  • Yamanba
  • Yashima

Treatises

Zeami produced 21 critical writings over a period of roughly four decades. character acting, music, and physical movement. His writings also discussed broader themes, such as how life should be lived. The treatises were intended for a small circle of his colleagues, since the troupes were hereditary, and such information was traditionally passed down between generations. He desired to facilitate this process It notably includes a thorough analysis of jo-ha-kyū, which Zeami viewed as a universal concept. His first treatise includes much of his father's views of Noh. A possible interest in Zen has been credited with this shift by some scholars. Zeami's son Motoyoshi had previously transcribed Zeami's treatise Reflections on Art. and the theory that Zeami was a restorationist. that involved actors portraying demons; these types of plays were seldom found in Zeami's repertoire. He enjoyed Monomane, and more particularly Onnami, Motomasa, however, began to lead the troupe in 1429. Yoshinori forbade Zeami to appear at the Sentō Imperial Palace,

Sado Island

In 1434, Zeami was exiled to Sado Island. In the account he conveys a stoic attitude toward his misfortunes. Little is known about the end of his life, but it was traditionally believed that he was pardoned and return to the mainland before his death.

Legacy

Zeami is known as the foremost writer of Noh and the artist who brought it to its classical epitome.

There are few extant biographical documents of Zeami and the lack of solid information about his life has led to a significant amount of speculation. However, Zeami's plays have been continually performed in Japan since they were first written.

A crater on the planet Mercury was named after Zeami in 1976.

References

Bibliography

  • Tyler, Royall, Japanese Nō Dramas. (1992) London: Penguin Books, .