Send message to Author

Paper short abstract

The paper compares Zeami Motokiyo (1363-1443) and Abe Kobo (1924-1993) as representatives of classical and modern Japanese theatre, focusing on their actor training theories. Through analysis of their writings, it identifies similarities in their views while acknowledging fundamental differences.

Paper long abstract

The paper compares two major figures of Japanese theatre: Zeami Motokiyo (1363–1443) and Abe Kōbō (1924–1993), representing classical and modern theatrical traditions respectively. Zeami is widely regarded as the most important figure in classical Japanese theatre and is often referred to as the "father of nō". In addition to his work as a performer, he developed the theoretical foundations of the genre, describing key aesthetic concepts such as yūgen (subtle profundity), myō (mystery), or monomane (imitation), as well as the notion of transmitting the flower, which describes the actor’s process of artistic development and mastery of stage techniques.

Abe Kōbō, on the other hand, is commonly associated with shingeki, a realist theatrical movement influenced by European playwrights such as Henrik Ibsen, Gerhart Hauptmann, and Anton Chekhov. However, this classification is only partially accurate. While his early plays of the 1950s and 1960s display realist elements, they also incorporate anti-realist features, including non-human characters and disruptions of linear time and space. In the 1970s, Abe moved decisively away from realism toward a form of visual theatre in which spoken language functioned as one expressive element among others, alongside sound, movement, and projection. During this period, he founded his own theatre troupe and developed a distinctive actor-training system, later articulated in a series of essays. Interestingly, the theatre Abe created in the 1970s often resembled the performances and aesthetic approach of post-shingeki creators, who themselves drew inspiration from classical Japanese theatre. Yet, Abe was never associated with the post-shingeki movement and consistently denied ever being influenced by classical Japanese art.

The paper analyzes key aspects of acting training in the theoretical writings of Zeami and Abe, identifying points of convergence in their thinking while accounting for the fundamental differences between their theatrical and philosophical frameworks.