| Abstract |

The theoretical introduction, the nō drama, including its farce companion kyōgen, is analysed from the broader anthropoligical perspective. Its various aspects are characterised according to biological, social, cultural and linguistic anthropology.
   The second part focuses on embodiment and performativity as observed in amateur nō training and in the practice of using the nō mask.  

| Bio |

Ivan Rumánek is a Japanologist and linguist coming from Slovakia. He deals predominantly with premodern Japan, classical literature of the Heian period, and classical Japanese theatre. His translation publications include poetry, prose and drama. His research output includes his major Slovak monograph Japanese Noh Drama – an Evolving Genre (2010) and other studies on the evolution of classical theatre (Nō Sumidagawa and jōruri Futago Sumidagawa: genesis of a story and of a genre, 2017) and prehistory of the Japanese language (Where did the principal Japanese Ama tsu kami (“celestial deities”) come from? – an analysis of the Nihon Shoki with ethnic and etymological Japanese-Okinawan-Ainu implications, 2021 and On some parallels in the verbal systems of Manchu-Tungusic and Old Japanese, with possible genealogical implications, 2016).
   He has done research at Slovak Academy of Sciences (Bratislava), Hōsei University (Tokyo), Waseda University (Tokyo) and University of London. He has been lecturing for Masaryk University (Brno, Moravia) since 2010.

| Date & Time |

u:japan lecture | s05e12
Thursday 2022-01-19, 18:30~20:00
max. 50 participants (on site) + max. 300 participants (online) 

| Place & Preparations | 

| Plattform & Link |

| Further Questions? |

Please contact ujapanlectures.ostasien@univie.ac.at or visit https://japanologie.univie.ac.at/ujapanlectures/s05/#e12.