| Abstract | This project consisted of a creative exploration of Jo-Ha-Kyu aesthetic as described in Motokiyo Zeami's The Transition of the Flower through the Forms and The Three Paths, and Takemono Gidayu's Sixteen Eighty-Seven Collection of Joruri Scenes. I sought to implement Jo-Ha-Kyu concepts as a writing heuristic and produced plans for a five-part novella, modeled after the conventions of Noh theatre composition. The final product presented here is an excerpt from the third act--which, as per Jo-Ha-Kyu, is characterized by pathos and dramatic climax. |
