Japanese No Masks

120 full-page plates of magnificent, elaborately carved, museum-quality masks worn by actors playing gods, warriors, beautiful women, feudal lords, and supernatural beings. Captions.

Twelve authentic, full-color disguises, including such No masks as a ceremonial old man, the Thunder God, an "Oto" mask used in comic interludes between No plays, as well as masks worn for dance, other types of theatrical roles and temple rituals. Clear diagrams and simple assembly instructions included.

The story of a man coming to terms with his homosexuality in traditional Japanese society has become a modern classic.

Gorgeous photos and insightful text introduce the work of today's foremost Noh mask artist, actor, and teacher. Noh master Michishige Udaka (the only living actor to continue to make masks while still performing and teaching), presents 32 of the more than 200 masks he's created, accompanied by revelatory text about the masks and the simple yet nuanced ancient dramatic art of Noh. Best-selling author Ruth Ozeki, who studied Noh theater with Udaka in Japan, has contributed a new Foreword to the paperback edition.

Japanese nõ theatre or the drama of 'perfected art' flourished in the fourteenth and fifteenth centuries largely through the genius of the dramatist Zeami. An intricate fusion of music, dance, mask, costume and language, the dramas address many subjects, but the idea of 'form' is more central than 'meaning' and their structure is always ritualized. Selected for their literary merit, the twenty-four plays in this volume dramatize such ideas as the relationship between men and the gods, brother and sister, parent and child, lover and beloved, and the power of greed and desire. Revered in Japan as a cultural treasure, the spiritual and sensuous beauty of these works has been a profound influence for English-speaking artists including W. B. Yeats, Ezra Pound and Benjamin Britten.

To the Japanese, paper is far more than the material medium used by Westerners. For them, its purity symbolises the religious offering, and respect for gods and men. Cut out or folded, it extends the code of speech and gesture. Paper also plays a purely utilitarian role, in the form of lanterns, parasols, fans, wrapping paper, or playthings such kites, dolls and origami.

“Intrepid journalist and novelist William T. Vollman’s colossal body of work stands unsurpassed for its range, moral imperative, and artistry.” —Booklist William T. Vollmann, the National Book Award–winning author of Europe Central, offers a charming, evocative, and piercing examination of the ancient Japanese tradition of Noh theatre and the keys it holds to our modern understanding of beauty. Kissing the Mask is the first major book on Noh by an American writer since the 1916 publication the classic study Pisan Cantos and the Noh by Ezra Pound. But Kissing the Mask is pure Vollman—illustrated with photos by the author with provocative related side-discussions on femininity, transgender, kabuki, pornography, geishas, and more.