Abstract

Julia Kristeva’s theory of intertextuality is no stranger to classical noh theatre of Japan. Each play as a text is not self-contained and autonomous, but rather maintains a relationship with ideas beyond its own boundaries. A single text can be a hypertext, as Gérard Genette argues, and can include a number of hypotexts submerged in it. Correspondingly, a noh play (as an individual text) forms a constellation of submerged web-like interconnections with Japanese artistic and cultural values. Traditionally, these interconnections have been viewed through the lens of source criticism, thus giving preference to each influential relationship and making light of the interactivity of different elements. Among other noh plays, this article brings to the fore two masterpieces, Yoroboshi and Semimaru, each of which depict a maltreated young boy. They each include various borrowings and quotations from literary sources, folktales, and beliefs, which become integrated and build a web of intertextual associations. More importantly, this intertextual web can develop in such a way that suits the specific taste of each generation of the audience. In this respect, the audience plays a key role in the making of noh’s intertextuality.