Oriental Languages and Cultures

MATILDE MASTRANGELO
MATILDE MASTRANGELO

The course presents the study of Japanese theater, with particular regard to the genres that are still programmed in theaters. The course includes a historical part, the viewing of video, reading and translation of theatrical scripts. Specific Goals Broaden the knowledge of Japanese culture and language through theatrical repertoire. Learn Japanese theater culture from the point of view of scholars and the public.

Expected results
The student will be able to present and discuss the historical, scenic, textual, and scenic aspects of Japanese theater.

Educational Goals
This course presents the study of Japanese theater, with an emphasis on genres that are still programmed in theaters today. The course includes a historical portion, viewing of videos, reading and translation of play scripts. In particular, the 2023 course will delve into the origins and development of no theater, its repertoires, and its encounter with modernity.

Specific Goals
Expand knowledge of Japanese culture and language through theatrical repertoire. Learning about Japanese theater culture, including from the perspective of the audience.

Knowledge of the Japanese language at the level of a Bachelor's degree in Japanese language and translation, level N3-N2.

The course examines the birth and development of nō theater, the treatises of the main author Zeami Motokiyo, the classical repertoire, and the encounter with modernity.
The course includes lectures, which make use of multimedia support; use of Japanese-language texts; talks by speakers who are experts in the field; and interventions by students participating in the course.

Zeami Motokiyo, Il segreto del teatro nō, a cura di René Sieffert, 5a ed., Milano, Adelphi, 2002.
Zeami Motokiyo, On the Art of the Nō Drama. The Major Treatises of Zeami translated by J. Thomas Rimer and Yamazaki Masakatsu, Princeton, Princeton University Press, 1984.
Matilde Mastrangelo, Luca Milasi, Stefano Romagnoli, (a cura di), Il teatro giapponese: la macchina scenica tra spazi urbani e riforme, Aracne, 2014
Mishima Yukio, Cinque nō moderni, Milano, Guanda, 1984.
Bonaventura Ruperti, Scenari del teatro giapponese, CaFoscari, 2016

Explanations with use of Dvd and power point.

According to the University Regulations, attendance is not mandatory, but it is strongly recommended.

Oral examination 30/30

Comment on repertoire and theory explained in class.
Examples of questions:
What was Zeami’s role in the development of Noh theatre?
What characteristics does the drama Takasago have?
What is the function of masks?

• Each week there are two classes of two hours each. After an initial general introduction, the course continues with lectures presenting individual nō and kyōgen plays, talks by specialists, and student presentations.Week One:The course begins with questions for the students: “Do you go to the theatre?”, “Do you like it? If so, which genre?”, “Have you ever acted?”, “What kind of relationship do you have with theatre?”.This interaction with students serves to introduce the topic and to address terminological and theoretical issues from the very beginning. According to the scholar Nicola Savarese, theatre’s main function is to entertain the audience, in all its forms. Therefore, encouraging students to reflect on their relationship with theatre is fundamental.The structure of the course is then presented, together with the study methods, the possibility of student presentations, and the exam format. The course topic is then introduced through the first definitions of nō and kyōgen, initially following Ruperti’s text. Through videos, the structure of the theatre that hosts this genre is shown.
  • Books: Bonaventura Ruperti, Scenari del teatro giapponese: caleidoscopio del nō, 2016, Venezia, Cafoscarina.


• Week Two:Presentation of the first authors of nō theatre through videos and texts. Analysis of Zeami’s writings, in particular the Fūshikaden. Initial introduction to nō dances. Guest lecture by Professor Diego Pellecchia, scholar and master of nō theatre.Reference texts: Il segreto del teatro nō, edited by René Sieffert; A Companion to Nō and Kyōgen Theatre, Nakao K., Pellecchia D.
  • Books: Il segreto del teatro nō, a cura di René Sieffert, A Companion to Nō and Kyōgen Theatre, Nakao K., Pellecchia D.


• Week Three:Continuation of the analysis of Zeami’s writings. Illustrative videos on dance. Guest lecture by Dr Ivan Croscenko on provincial nō theatre traditions.Texts: Ruperti, Nakao K., Pellecchia D.
  • Books: Ruperti, Nakao K., Pellecchia D.


• Week Four:Analysis of the play Aya no tsuzumi through video and libretto. Introduction to plays dedicated to warriors.


• Week Five:Analysis of the plays Dōjōji and Shunkan through video and libretto. Guest lecture by Professor Francesca Lerz (Tier University) on Zeami and contemporary acting practice.


• Week Six:Analysis of other warrior plays: Sanemori.


• Week Seven:Presentation and analysis of kyōgen. Videos and classical repertoire.


• Week Eight:Analysis of the plays Atsumori and Tomoe through video and libretto. Guest lecture by Professor Claudia Iazzetta (University of Naples “L’Orientale”).Texts: Iazzetta, 2025.
  • Books: Iazzetta, 2025. Testi: Iazzetta, 2025.


• Week Nine:Analysis of the plays Matsukaze and Takasago through video and libretto. Student presentations on a play of their choice.


• Week Ten:Analysis of the play Sumidagawa through video and libretto. Student presentations on a play of their choice.


• Week Eleven:Analysis of the play Tsuchigumo through video and libretto. Student presentations on a play of their choice.