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  1. Motokiyo Zeami (jap. 世阿弥 元清 Zeami Motokiyo; ur. 1363 lub 1364 – zm. 1443 lub 1444, znany także jako Motokiyo Kanze) – japoński dramaturg, aktor i teoretyk teatru. Jeden z twórców klasycznego teatru japońskiego nō, którego zasady skodyfikował w traktatach dotyczących teorii teatru i estetyki.

  2. 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.

  3. Seami, Kanze, Motokiyo, ur. ok. 1363, zm. ok. 1443, syn Kannamiego , japoński twórca i teoretyk klas. formy teatru nō , dramatopisarz, aktor; w młodości kształcił się i pracował pod protektoratem shōguna Ashikaga Yoshimitsu; po jego śmierci popadł w niełaskę i przebywał 2 lata na zesłaniu na wyspie Sado.

  4. 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. At the age of 12 he attracted the attention of Shogun Ashikaga Yoshimitsu during a stage performance.

  5. The Editors of Encyclopaedia Britannica. Last Updated: Apr 17, 2024 • Article History. Category: Arts & Culture. Also spelled: Seami. Also called: Kanze Motokiyo. Born: 1363, Japan. Died: Sept. 1, 1443, Kyōto? (aged 80) Notable Works: “Fūshi kaden” Subjects Of Study: Noh theatre.

  6. 1 sie 1996 · This is the first full-length study of Zeami Motokiyo (1363–1443), generally recognized as the greatest playwright of Japan's classical Noh theater. The book begins with a biography based on the known documents relating to Zeami's life. It then examines the documentary evidence for authorship and explains the various technical aspects of Noh. Subsequent chapters explore the role of the old ...

  7. Zeami, KakyO.I T nHE concept of riken no ken *io9i, literally, 'the seeing of detached perception',2 is considered by noh specialists to be one of the most im-portant contributions of Zeami Motokiyo i 1363-1443, to theater art. In his commentary, Nose Asaji confesses, 'I am irresistibly drawn to this phrase riken no ken.