Chapter Suoni d’amore e tenebre di disonore. Suono e cecità nel teatro nō
| dc.contributor.author | Iazzetta, Claudia | |
| dc.date.accessioned | 2024-12-20T12:43:55Z | |
| dc.date.available | 2024-12-20T12:43:55Z | |
| dc.date.issued | 2024 | |
| dc.identifier | ONIX_20241220_9791221504224_397 | |
| dc.identifier.issn | 2975-0261 | |
| dc.identifier.uri | https://0-library-oapen-org.catalogue.libraries.london.ac.uk/handle/20.500.12657/96603 | |
| dc.language | Italian | |
| dc.relation.ispartofseries | Connessioni. Studies in Transcultural History | |
| dc.subject.classification | thema EDItEUR::C Language and Linguistics::CF Linguistics | |
| dc.subject.classification | thema EDItEUR::D Biography, Literature and Literary studies | |
| dc.subject.other | Hearing | |
| dc.subject.other | Sight | |
| dc.subject.other | Resentment | |
| dc.subject.other | Isolation | |
| dc.subject.other | Forsaking | |
| dc.title | Chapter Suoni d’amore e tenebre di disonore. Suono e cecità nel teatro nō | |
| dc.type | chapter | |
| oapen.abstract.otherlanguage | In nō plays, the senses of hearing and sight are closely interrelated. The plays often delve into the complexities of human connection and communication, especially in circumstances where physical presence is hindered. One recurring theme is the use of sound as a bridge between individuals who are separated by physical barriers, preventing them from meeting face-to-face. In these instances, characters often resort to sound to attract the attention of the distant person, even if their calls remain unheard. This creates a poignant sense of longing and unfulfilled connection. Conversely, characters who are blind hold a prominent role in nō performances. Whether they were born blind or lost their sight later in life, these characters epitomise the power of sound as a means of interaction with the world. In their state of visual isolation, they rely on auditory cues to engage with the external environment, fostering a connection through the act of listening and being heard, even before the exchange of sight occurs. Among the diverse range of nō plays, two pieces stand out for their exploration of sound and its emotional undercurrents: Kinuta and Aya no tsuzumi. These performances offer a unique lens through which to delve into the themes of resentment and the erosion of rationality, as sound becomes a conduit for these intense emotions. Furthermore, characters like Semimaru, Yorobōshi, and Kagekiyo each have their own stories that underscore the prevalent themes of loneliness and abandonment often associated with blindness. These characters draw attention to the societal stigma and dishonour that historically accompanied this impairment, evoking empathy and introspection in the audience. In summary, nō plays masterfully weave together the senses of hearing and sight to create narratives that explore human emotions, connections, and the nuances of communication. Through characters who rely on sound for connection and those who navigate the world without sight, these plays offer profound insights into the human experience and the power of sensory perception. | |
| oapen.identifier.doi | 10.36253/979-12-215-0422-4.16 | |
| oapen.relation.isPublishedBy | bf65d21a-78e5-4ba2-983a-dbfa90962870 | |
| oapen.relation.isbn | 9791221504224 | |
| oapen.series.number | 3 | |
| oapen.pages | 14 | |
| oapen.place.publication | Florence |
