Japanese nō dramas
這本《能劇選集》收錄了24部能劇，每部劇都附有導言，由羅亞爾·泰勒編輯並翻譯，是了解能劇的絕佳途徑。能劇對日本文學的其他領域影響深遠，因此絕對值得一讀。當然，譯本也十分出色。本書出版於1992年。
This is a really great way to get to know about nō drama, with 24 plays included, each with their own introductions, edited and translated by Royall Tyler. Nō has been really influential on other parts of Japanese literature, so definitely worth knowing about. And of course the translation is very good. Published in 1992.
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"漫談"Donald Keene 譯/著的日本文學" 37：
THE PLEASURES OF JAPANESE LITERATURE 鳥瞰。
《日本能劇》（作者：亞瑟·韋利）
《日本能劇》（作者：亞瑟·韋利）是一部收錄了20世紀初日本傳統能劇譯作的合集。這部作品向西方讀者介紹了日本戲劇獨特而程式化的藝術形式，展現了其關於命運、記憶和人生境遇的核心文化主題，並透過能劇豐富詩意的語言和精湛的表演將其樓娓道來。能劇通常包含歷史人物、鬼魂和精神元素，這些都是敘事的核心。在合集的開篇，韋利撰寫了一篇導論，帶領讀者沉浸於能劇的世界，探討了能劇的意義以及它與西方戲劇截然不同的舞台呈現和表演風格。開頭收錄了三部劇作：《敦盛》，圍繞著罪惡與救贖的主題展開，講述了武士出身的僧侶熊谷與他在戰場上殺死的青年敦盛的鬼魂相遇的故事。 《生田》講述了一個男孩尋找已故父親敦守的故事，著重刻畫了失去親人和父子情深的主題。 《常正》則探討了一個亡靈回到人間聆聽人們為他祈禱的悲傷故事。透過這些故事，本書展現了能劇所特有的深刻精神內涵與情感力量。 （此為自動產生的摘要。）可免費下載https://www.gutenberg.org/ebooks/43304
《日本能劇》（作者：亞瑟·韋利）
《日本能劇》（作者：亞瑟·韋利）是一部收錄了20世紀初日本傳統能劇譯作的合集。這部作品向西方讀者介紹了日本戲劇獨特而程式化的藝術形式，展現了其關於命運、記憶和人生境遇的核心文化主題，並透過能劇豐富詩意的語言和精湛的表演將其樓娓道來。能劇通常包含歷史人物、鬼魂和精神元素，這些都是敘事的核心。在合集的開篇，韋利撰寫了一篇導論，帶領讀者沉浸於能劇的世界，探討了能劇的意義以及它與西方戲劇截然不同的舞台呈現和表演風格。開頭收錄了三部劇作：《敦盛》，圍繞著罪惡與救贖的主題展開，講述了武士出身的僧侶熊谷與他在戰場上殺死的青年敦盛的鬼魂相遇的故事。 《生田》講述了一個男孩尋找已故父親敦守的故事，著重刻畫了失去親人和父子情深的主題。 《常正》則探討了一個亡靈回到人間聆聽人們為他祈禱的悲傷故事。透過這些故事，本書展現了能劇所特有的深刻精神內涵與情感力量。 （此為自動產生的摘要。）
可免費下載
https://www.gutenberg.org/ebooks/43304
The Nō Plays of Japan by Arthur Waley
"The Nō Plays of Japan" by Arthur Waley is a collection of translations of traditional Japanese Nō dramas written in the early 20th century. This work introduces Western readers to the unique and stylized form of Japanese theater, capturing its essential cultural themes of fate, memory, and the human condition as they unfold through the richly poetic language and elaborate performances of the Nō plays. The plays often feature historical figures, ghosts, and spiritual elements that are central to the narratives. At the start of the collection, Waley provides an introduction that immerses the reader in the world of Nō theatre, discussing its significance and the staging and performance style that distinguish it from Western drama. The opening section presents three plays: "Atsumori," which revolves around the themes of guilt and redemption, introduces Kumagai, a warrior turned priest, who encounters the ghost of Atsumori, a young man he killed in battle. "Ikuta" follows a young boy seeking to meet his deceased father, Atsumori, and highlights themes of loss and parental connection. Finally, "Tsunemasa" explores the sorrow of a ghost who returns to listen to prayers dedicated to him. Through these narratives, the book encapsulates the profound spiritual and emotional depth characteristic of Nō plays. (This is an automatically generated summary.)
"The Nō Plays of Japan" by Arthur Waley is a collection of translations of traditional Japanese Nō dramas written in the early 20th century. This work introduces Western readers to the unique and stylized form of Japanese theater, capturing its essential cultural themes of fate, memory, and the human condition as they unfold through the richly poetic language and elaborate performances of the Nō plays. The plays often feature historical figures, ghosts, and spiritual elements that are central to the narratives. At the start of the collection, Waley provides an introduction that immerses the reader in the world of Nō theatre, discussing its significance and the staging and performance style that distinguish it from Western drama. The opening section presents three plays: "Atsumori," which revolves around the themes of guilt and redemption, introduces Kumagai, a warrior turned priest, who encounters the ghost of Atsumori, a young man he killed in battle. "Ikuta" follows a young boy seeking to meet his deceased father, Atsumori, and highlights themes of loss and parental connection. Finally, "Tsunemasa" explores the sorrow of a ghost who returns to listen to prayers dedicated to him. Through these narratives, the book encapsulates the profound spiritual and emotional depth characteristic of Nō plays. (This is an automatically generated summary.)
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