近代能楽用語索引Index of Nō-related Terms in Modern Texts

KongoBénazet, Alexandre（1901）Le théâtre au Japon: ses rapports avec les cultes locaux, Leroux, Paris [FR]

• 85Trois autres familles ont attaché leur nom à l’histoire dramatique de ce temps: Emmani (ou Komparou), Toyama (ou Hо̄shо̄), et Sakado (ou Kongо̄).
• 96Certaines familles ont fourni plusieurs générations succeseivcs de comédiens de kiyôghèn un peut citer les Ohkoura, les Chо̄myо̄, les Saghi, les ldzoumi, qui ne remontent cependant pas aussi haut dans l’histoire que les Kwanzé, les Komparou, les Hо̄shо̄ et les Kongо̄, dont les descendants jouent encore les nô.

Satow, Earnest（1921）A Diplomat in Japan, Seeley, Service & Co., London [EN]

• 397Another day was spent with the mayor of Kanasugi and three or four retainers at the classical theatre Kongo-daiyu in Agura cho, to see No and Kiogen.

Ikenouchi, Nobuyoshi（1925）Explanations of Nō plays: a vade mecum for spectators of Nō plays, Nōgakukai, Tokyo [EN]

• 7In No schools of Kon-paru, Kongo and Kita, the roles of Senzai a.re played by Kyogen who appear, with the mask box while in the schools of Kwanze and Hosho, the parts of Senzai, aro played by Shite-zure, in which case, there is a separate mask-box carrier.
• 21There are 5 schools if shite actors as represented by names of Kwanze, Konparu, Hoshо̄, Kongо̄ and Kita.
• 22The oldest of the Noh schools is called Konparu out of which arose two schools of Kongo and Kita which are known under the general name of Shimogakari, while the school of Hosho was originated from the Kwanze school, both of which are included under the name of Kamigakari.

Maybon, Albert（1925）Le théatre japonais, Henri Laurens, Paris [FR]

• 24Trois autres groupes ont pour nom Kongo, Kita et Komparu.

Lombard, Frank Alanson（1928）An Outline History of the Japanese Drama, Allen and Unwin, London [EN]

• 87The Emani, Yusaki, Toyama, and Sakado families, now known as Konperu, Kwanze, Hosho, and Kongo, together with Kita-an outgrowth of Kongo-form in reality two schools, the Shimogakari and the Kamigakari, according to their method of acting.
• 87Of these families, the Kwanze and the Kongo are the most prominent, and representative of the Kamigakari and the Shimogakari schools respectively.

Lane Suzuki, Beatrice（1932）Nōgaku: Japanese Nō Plays, Murray, London [EN]

• 16In Nara at the Kasuga shrine four groups arose forming the present schools of Komparu, Kwanze, Hosho, and Kongo.
• 17There was a pupil of Kongo named Kita Shichidayu who was a very skilful dancer.
• 22Each school of Nо̄ (Kwanze, Kongo, Komparu, Hо̄shо̄, and Kita) has its own texts which contain some differences in reading.

Sadler, A.L. （1934）Japanese Plays Nō – Kyōgen – Kabuki, Angus & Robertson, Sydney [EN]

• x-xiThe performance of these dramas was entirely restricted to the Five Families of Komparu, Kwanzei, Hosho, Kongo and Kita, of which Komparu claims the greater antiquity.

n.a.（1936）What is the Noh play? How to appreciate “Hagoromo”, Brazil Economic Mission, n.a. [EN]

• 9There are to-day six Noh schools Kanze, Hosho, Kongo, Komparu, Kita and Umewaka.

Kokusai Bunka Shinkōkai（1937）The Noh Drama, Kokusai Bunka Shinkōkai, Tokyo [EN]

• 8The Noh art is being perpetuated today,as it has been since feudal times, by five official “schools” known as Kanze, Hosho, Komparu, Kongo and Kita, and though they are all divided on some of the technical details, in their traditional reverence for Zen canons of taste they are united.
• 3This volume, a record of two Noh presentations sponsored by the Society last year-in Kyoto at the Kongo Noh Theater on November 17 and in Tokyo at the Noh Theater of the Peers’ Club on November 30-has been prepared with the hope that it may encourage foreign interest in the study of this art.

Fulchignoni, Enrico（1942）Sette Nō, Edizioni Teatro dell’Università di Roma, Roma [IT]

• 2All’inizio dell’epoca Muromaci (sec. XIV) si erano andate formando nelle provincie numérose compagnie di attori del No , fra cui primeggiano le compagnie Komparu e Kongo.