Tagged: akira kurosawa, French, noh
There appears to be a new book in French with the title Les Éléments structurants du théâtre nô chez Akira Kurosawa: L’Exemple de Tsubaki Sanjuro, which with my high school French from twenty years back would translate into something like “The Structural Elements of Noh Theatre with Akira Kurosawa: The Case of Sanjuro“.
Looking at the description, it seems that the author Thomas Lorin argues that Kurosawa’s Sanjuro exhibits many Noh elements that form a fundamental part of the film’s structure. The author has studied musicology and Japanese.
The 272 page book was published at the very end of December and you can find more information at Amazon.fr and the academic publisher L’Harmattan’s website.
With my above-mentioned high school French, I’m a little hesitant to pursue this one, but if someone here does, it would be fascinating to hear a summary of the thoughts contained within! I know we have a few native speakers amongst us!
Your french is good enough, Vili.
According to the description, the book goes beyond the case of Sanjuro and explores the recurring themes, technical staff, environment, universe… of Akira Kurosawa.
It points out also that Akira Kurosawa studied Noh through Zeami treatises. It might be obvious for some, but it is the first time I read about this, and I am discovering Zeami.
Oh, and it seems that the author’s wive (Maï Shiraï) would not have spoiled a Noh scene or No Regrets for Our Youth, with her eclectic piano play.
I am not at a good time for expenses, but if I happen to get this book, I will gladly write about it here.
I read somewhere (probably Richie) that Kurosawa said Noh was the core of all Japanese drama, with its symbols, sense of constriction and sense of subtlety.
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