Зеами Мотокиё: Но театрының шебері мен ойшылы

Japanese aesthetician, actor, and playwright

Zeami Motokiyo (世阿弥 元清) (c. 1363 – c. 1443), also called Kanze Motokiyo (観世 元清), 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 to compose a love affair with him. 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 of 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.

Zeami produced 21 critical writings over a period of roughly four decades. character acting, music, and physical movement. They 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.) Yoshinori, who enjoyed Monomane, preferred Onnami, Motomasa, however, began to lead the troupe in 1429. Yoshinori forbade Zeami to appear at the Sentō Imperial Palace,

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.

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, the lack of solid information about his life has led to a significant amount of speculation. 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.