EA 120 MIDTERM
BRING A BLUEBOOK!
The exam is NOT open book, but you may write notes (short definitions, examples to support your answers, etc. ) on the inside covers of your bluebook ahead of time and bring them to the exam. THE NOTES MUST BE HANDWRITTEN ON THE BLUEBOOK USED FOR YOUR TEST.
Possible Midterm Exam Questions
[NOTE: these are not the *only* questions I could ask, they are just *likely* questions I could ask]
NOH
Plays: Kamo, Izutsu, Atsumori, Kayoi Komachi (Komachi and the Hundred Nights), Sotoba Komachi (Komachi on the Stupa), Kinuta, Yamamba (The
Mountain Crone), Dôjôji,
Names: Zeami, Kannami, Shogun Yoshimitsu 1. List all the elements of the plays Dôjôji or Adachigahara that show evidence of the
origin of Noh in Shamanic rituals and explain.
2. Describe the typical structure of a mugen noh play such as Izutsu or Atsumori and explain how it can be seen as a "concealed" shamanic ritual. (lectures) 3. I might give you a translation of a section of a Noh play, and ask you to analyze the rhetoric (allusive variation, pivot words/puns, poetic catalogues, parallelism, etc.) 4. How is character conveyed in Noh? (see also "Images" section below) 5 Define terms: Shite, Tsure, Ai, Waki 6. Define terms: mugen noh, genzai noh. 7. What is the difference between "design" kata (dance movement) and "ground" kata in Noh? How are each used in conjunction with the words of the play? In answering this question, give an example from Yamamba (discussed in class) of each kind of movement.
KYOGEN 1. In Kyôgen, which characters wear masks? How is
this different from Noh?
How is character conveyed in Kyogen? (See also "Images" section below.)
2. What roles do Kyôgen actors play in Noh?
3. What is the difference between the two main forms of parody Carolyn Haynes discusses in her article on “Parody in Kyôgen? Give at least one example of each from plays we’ve read for class. 4.Compare the attitude towards religion and religious figures (deities, priests etc.) in Noh and Kyogen. How does Kyogen make fun of or parody religion? Possible questions: How do Owls and Mushrooms parody exorcism plays like Adachigahara? How does Thunderbolt parody deity plays like Kamo? Compare how Mountain Priests (Yamabushi) are treated in Kyogen versus Noh. Are they equally respected? Costuming differences? Movement style? Give as much detail to support your answer as you can. 5. How do Kyogen plays exemplify the medieval principle of "ge-koku-jô" (the low overthrows the high)? Support your argument with plays we've seen and read for class. 5. Define terms: Shite, Ado 6. How is movement in Kyogen similar to Noh? How is it different?
GENERAL QUESTIONS 1. What is the difference between "representational" and "presentational" theater? How is Noh and Kyogen "presentational"? Support your argument with concrete examples from the plays with regard to dialogue, plot structure, the "Three Classical Unities," costuming etc.
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