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

日本国外文献における曲名

能楽界で活動した人物のリストで、本文中で頻繁に言及されている人物に焦点を当てています。「検索用語」は本文中に見られる表記を指し、「参照用語」は現在のローマ字表記を指します。同じ名前に複数の読みがある場合、参照用語は現在の読みを表します(例:検索用語:Démé-Jioman、参照用語:Deme Takamitsu)。

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Okina

OkinaEdwards, Osman(1901)Japanese Plays and Playfellows, Heinemann, London [EN]
  • 104Les masques Okina, Akoujokou représentent des vieillards méchants (senes austeri), Oouba, Rо̄jо̄, les vieilles femmes ; Tobidé, Hanja, Beshimi, les démons etles fantômes: Schishigatchi, le lion; Yakan, le renard; Saroutobidé, ou Sarou-beshimi, le singe, etc.
Victoria & Albert Museum(1922)The Japanese theatre; catalogue of an exhibition of Japanese theatrical art, Victoria & Albert Museum, London [EN]
  • 1The Japanese word Shibai, for instance, used as a generic term for theatres and theatrical performances , is derived from the performance of certain dances on a grass plot (shiba); and one of these, the Okina Sambasõ dance, is said to have been performed first in the period Daido (A.D. 806-809 ) .
Ikenouchi, Nobuyoshi(1925)Explanations of Nō plays: a vade mecum for spectators of Nō plays, Nōgakukai, Tokyo [EN]
  • 1-2The records handed down in the families of the Nо̄ dance masters state that twelve hundred years ago, prince Shо̄toku ordered one Hada-no-Kawakatsu to compose the Okina dance to the music which was handed down in the latter’s family under the name of tau-tau-tarari (flute notes and also to compose the monomane dance numbering sixty six pieces.
  • 7The play Okina is the beginning of the Nō dance, and as the most sacred play of all, it was always held in high respect and esteem.
  • 7The hero of the play is the old man wearing the white mask, hence the name Okina.
  • 8Okina means an old man noted for longevity and good luck: Senzai like Manzai signifies old age while Sanbaso is interpreted as No. 3 old man appearing on the stage, also a symbol of longevity and felicity.
  • 8During the Tokugawa regency government, on the occasion of the formal performance of Nō, the play of Okina was started at six o’clock in the morning.
  • 25Apart from Okina and Shūgen, these plays were arranged in five acts in the order of Shin, Nan, Jo, Kyō, Ki.
  • 25Shin, otherwise known as Shinji-nō is played as Waki-Nō following the Okina play.
  • 25-26In case there is no Okina play, this play comes first on the program so that the first play has naturally come to be called the Waki-Nō.
  • 29Those used for the Okina play are: Hakushiki (white), Hikushiki (flesh), Kokushiki (black), Chichi-no-jо̄ (fatherly figure), En-mei-kwanja (man of longevity).
  • 24 -25Hachinoki, Hashibenkei, Hо̄kazо̄, Dо̄jо̄ji, Tо̄ru, Okina, Kayoigomachi, Kantan, Kagekiyo, Yoroboshi, Tsuchigumo, Nakamitsu, Utо̄, Kurozuka, Kuzu, Kumasaka, Yamauba, Yо̄rо̄, Matsukaze, Funa-Benkei, Fujito, Kokaji, Aoino-ue, Ataka, Ama, Midare, Shichiki-ochi, Shakkyо̄, Shunkwan, Shо̄zon, Mochizuki, Sesshо̄seki, Semimaru, Sumidagawa – 35 in all.
  • 31This mask together with other masks made by Tankaiko, Kōkōtaishi, and Kasuga are called the divine handicraft, and the Hōshō family preserves the mask of Okina which is said to be the work of Tankaiko.
Lombard, Frank Alanson(1928)An Outline History of the Japanese Drama, Allen and Unwin, London [EN]
  • 91Of the Shinji Noh the Okina is thought to be the most ancient.
  • 91Some would trace it to the same origin as Kagura, and find in it representation of characters present at the dance by Uzume before the Rock Cave; but, in objection to that, it may be stated that the chief character in Okina has no counterpart in the myth, and that the words spoken in the Noh can have no possible reference to that story.
  • 91At least it can be said that-the Okina is traditionally ancient ; that it is given, when played in a service of Noh, the position of honour corresponding to that given Niwabi in Kagura, and that its character betokens a ritualistic rather than a social development.
  • 91Okina, Senzai, and Sanbanso appear to be three possible names for the same Noh, each being the designation of a character: an old man, an echo-like follower, and a comic clown.
Lane Suzuki, Beatrice(1932)Nōgaku: Japanese Nō Plays, Murray, London [EN]
  • 19No plays of tho Number 1 group are: “Okina,” ” Himuro,” “Takasago,” “Tsurukame,” “Naniwa,” ” Yoro,” ” Oimatsu,” ” Chikubushima.”
Beck, L. Adams(1933)The Ghost Plays of Japan, The Japan Society (NY), New York [EN]
  • 38This book is primarily historical but it gives translations of seven Nо̄ of different types-Okina, Chikubu Shima, Himuro, Eguchi, Fuji (The Spirit of the Wistaria), Manju ( or Nakamitsu), Ohara Goko; and one amusing Kyogen, Busu, with outline descriptions of three others.
Nogami, Toyoichirō(1934)Japanese Noh Plays: How to See them, Board of Tourist Industry, Tokyo [EN]
  • 42In a really formal programme consisting of five pieces a piece called Okina (The Ancient Man), which is regarded as the most sacred play, is placed first, and a short final congratulatory piece, for instance, Iwa-hune (The Stone Boat) or Kinsatu (The Gold Charm) comes last.
Marega, Mario(1940)“Il Vegliardo (Okina)”, Monumenta Nipponica 3.2, n.a. [IT]
  • 610[Okina 翁 Il vegliardo]