Zeami Motokiyo was a Japanese aesthetician, actor and playwright. He is best known as a Master of the Japanese theatrical art of Nō, a classical form of highly codified musical drama. His father Kan'ami Kiyotsugu taught him the art from a young age, and was eventually succeeded by him as the Master of the Kanze school. Between 1400 and 1418 he compiled his notes on his art and collected them in one volume known as the Fūshikaden, or “The Transmission of Style and the Flower.”
Zeami never specifically defines what the Flower is, although it is at the very heart of the Fūshikaden. In seperate passages he describes it as “that which makes the performance interesting,” and “that thing which has not been lacking.” The closest he comes to a definition is when he states that “The Flower, that which is interesting, and that which is unique-these three are the same at the heart of the matter.” In essence, the Flower is that spark which makes the practice into something more, into a thing which transcends mere physical movement and oral performance and becomes not only an art, but a Way.
This classic work has many important teachings relating to the art of Nō, but a deeper reading reveals truths which apply to our practices of the martial ways. The name of the art itself comes from a word variously translated as skill, talent, or ability, and the practices and discipline of the Nō actor have interesting parallels for the martial artist.
In Chapter Five of the Fūshikaden Zeami speaks to the very heart of the Way, and what it takes to keep it strong.
Praising the Deepest Principles
“I hesitate to expose these secret teachings to the eyes of those generally outside of our art, and am writing them down here rather as precepts for our descendants. Nevertheless, I do have one basic intention. When I look at people who practice these days, I see that they make light of our art, follow practices outside of our own Way, and even when reaching a high level in the art, imbue themselves with a single night's enlightened performance or momentary fame. I can only lament that they have forgotten the wellspring of our art and lost its current, and that the true Way is perhaps already in decline. If you take care to follow the Way, place great important in the art, and leave your own self-interest to one side, however, you should be able to grasp the grace of its character. In our art especially, though its ancient customs are handed down from generation to generation, there are on occasion performances that are successful due to the actors' individual strengths, and these things are difficult to put into words. But in the continuation of our style, the Flower is passed down from mind to mind.”
Here Zeami speaks of the importance of the art in a sense that extends past the practitioner throughout time. While there are successes due to the “individual strengths” of one actor or another, to Zeami it is not the individual performances which are the true legacy of Nō, rather it is the ancient customs handed down “from mind to mind,” the continuation of the style, and the Flower. It is not the achievements of its practitioners which makes the art a Way. It is the “grace of its character.”
“It is simply a fact, then, that many actors-whether due to a contentious attitude or a lack of understanding-learn only one style, do not know a full range, and dislike the style of other schools. Yet this is not a true dislike, and merely reflects their shallow willfulness. Because of this attitude, an actor may gain a reputation for one particular style for a short time, but his Flower will not last long, and he will not have the confidence of the public. A master of the art who has achieved public acclaim will make an interesting performance regardless of which style he employs. Every style and fundamental form has its own character, but what makes them interesting should be common to all of them. What makes the spectator see the performance as interesting will be the Flower.”
In the martial ways there are adherents of ground fighting. And knife fighting. And street fighting. And sport fighting. And it is common for some practitioners to disdain those styles other than his own. But this is a mistake. It is a reflection of weakness and fear. The true follower of the martial way has nothing to fear from the teachings of others. He looks instead for what he can learn. He seeks to discover those things which “should be common to all.” And rather than limit his approach to one specific style and allow intention to interrupt his action, he is fluid and adaptive and will be successful “regardless of which style he employs.”
“Nevertheless, no matter what kind of style is assumed, the truly skillful actor should allow for no openings or lapses in concentration. The actor who aims to perform only one of these styles is one whose technique will never reflect a true grasp of the essence of the art.”
So we see that not only must the practitioner be prepared at all times to be fluid and to adapt, but he must also be constantly focused on his task. He must allow for “no openings or lapses in concentration.” His mind must be clear to his task and no matter his environment or circumstances he must bring his skill to bear.
“For this reason, you should not forget the way you were as a beginner and, according to the time and place, should perform with the simplicity of the observer in mind.”
It is important to always remember “the way you were as a beginner.” As we train and practice we develop habits which limit our ability to think and act. We develop tendencies and intentions and patterns. But the beginner is uninhibited. He reacts to the stimulus that he is exposed to without distraction and his mind is empty and clear. It can be difficult for the experienced practitioner to return to this state of no-mind, but it is in this state that he will be most able to freely express his skill. He also must always practice his basics with diligence, for true combat ability is found in understanding the simplest movements, and executing them with proper form.
“Having both understanding and masterful achievements, however, is like having both the Flower and the seed. Even an actor who has a grasp of the art may fall out of favor. But if he does not lose the Flower he should not suddenly be cut off from the Way. And if the Way is not cut off, there should come a time when he will once again meet success.”
In each of our journeys there will be times when we will stray from the path. Life, family, work, and the demands of a modern life in a civilized world will pull us away from the ancient practices and traditions. But once the student develops the Flower within himself, he will not lose it when it is gone. Rather the seed will rest within until such time as “he will once again meet success.” In this way he will return to the path time and time again throughout his life and need never fear that he will be "cut off from the Way."
Zeami finishes his work with this simple sentence. “This is for the sake of the Way and for the sake of my clan, and in no way for any benefit of my own.” It was not for his own legacy that he wrote the Fūshikaden, it was for those who would come after him. It was his instruction in following the Way, intended to help those who would follow understand both their art and their responsibility to it.
Each of us who have benefited from the “Transmission of the Style and the Flower” owe a responsibility to those who came before us to pass that knowledge on. Just as the art of Nō is “passed down from mind to mind,” the martial arts are passed down hand to hand, instructor to student. The path extends away in both directions from each who follow it, into the past and into the future. We each have a role to play in the continuation of our practices, so long as we “take care to follow the Way, place great important in the art, and leave our own self-interest to one side.”
In Praising the Deepest Principles Zeami lays out the most important aspects of his teachings. The Way is greater than the individual. Discover those things which are common to all styles. Be focused and mindful at all times. Remember the mind of the beginner. Understand the Flower and you will never be cut off from the Way. The teachings are not for our own sake but for the sake of the Way. These are Zeami's deepest principles. This is the essence of his instruction. And each is an important lesson for the martial artist to internalize.
Drills -
Beginner: Practice your style and the teachings of your instructors and study the lessons of your art. Zeami writes “It is the very life of Nō never to make light of the fundamental principles of the style you follow. If you did so, you would be a weak actor. It is precisely by going deeply in to the essential forms of your own style that you will be able to know a broad range of styles. The actor who thinks he should know a broad range of styles and thereby ignores his own, will not only fail to have a presence of his own, but will most likely know even less about other styles. In this way his Nō will be weak and his Flower will not last for long.” Study your art with utmost seriousness.
Intermediate: Remember the mind of the beginner. As you advance to more difficult and sophisticated techniques, continue to practice the simple movements which are the foundation of all things. You are only as good as your basics. Even the most complex applications are built from the foundation of the beginner. Do not become rigid in your behaviors and your practices. Keep your mind free and "act without acting" in a state of no-mind.
Advanced: Be a part of the continuation of the Way. Transmit the Style and the Flower to the next generation as it was transmitted to you. Hand to hand. Mind to mind. For the sake of the Way, and not for any benefit of your own. Be “the wellspring of the art” for a new generation of students.
No comments:
Post a Comment