By looking at 15th/16th realistic noh and Greek tragedies through the lens of Aristotle and of each other, this comparison reveals a previously unnoticed relationship between the structure of the tragedies and their performance, that is, the involvement of the third actor at the climactic moments of the plot in both and the actor stepping out of character in noh. This observation helps to account for Aristotle's view that tragedy be limited to three actors.
By looking at 15th/16th realistic noh and Greek tragedies through the lens of Aristotle and of each other, this comparison reveals a previously unnoticed relationship between the structure of the tragedies and their performance, that is, the involvement of the third actor at the climactic moments of the plot in both and the actor stepping out of character in noh. This observation helps to account for Aristotle's view that tragedy be limited to three actors.
Introduction: Toward a Comparative Study of the Action in Greek Tragedy and Noh Chapter 1: Aristotle on Tragedy: A Reading of "Iphigenia in Tauris" and "Oedipus the King" Chapter 2: The Tragic Action of Realistic Noh: Reading Noh with and beyond Aristotle Chapter 3: Climactic Moments: The Third Person in Realistic Noh Chapter 4: Climactic Moments: The Third Actor in Greek Tragedy Coda: Plot, Performance, and Creative Distances Appendix: Passages from Realistic Noh Bibliography Index
Introduction: Toward a Comparative Study of the Action in Greek Tragedy and Noh Chapter 1: Aristotle on Tragedy: A Reading of "Iphigenia in Tauris" and "Oedipus the King" Chapter 2: The Tragic Action of Realistic Noh: Reading Noh with and beyond Aristotle Chapter 3: Climactic Moments: The Third Person in Realistic Noh Chapter 4: Climactic Moments: The Third Actor in Greek Tragedy Coda: Plot, Performance, and Creative Distances Appendix: Passages from Realistic Noh Bibliography Index
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