Abstract

Noh theater consists of two types of plays: genzai noh [present-time noh], which presents a relatively realistic portrayal of living persons, and mugen noh [phantasmal noh], which depicts ghosts and other supernatural beings that interact with Buddhist monks and seek salvation. In some phantasmal noh plays, female ghosts dramatically—somewhat obsessively—narrate their sweet and bitter past love affairs. Likewise, ghosts of warriors recount regrettable incidents on the battlefield. Notably, the past outshines the present. Usually, this characteristic of phantasmal noh is examined from purely literary and aesthetic perspectives. However, this research tendency creates a blind spot in comprehending phantasmal noh, which provides insight into the creative, active power of noh drama’s language. In mugen noh the principal character narrates their own past. Through this narration, the past can transform itself so spectacularly that it enchants not only the character who narrates their past but the audience as well. J. L. Austin’s speech act theory-based concept of “performativity” and Jacques Derrida’s hypothesis of “citationality” can provide insight into the protagonist’s active, even provocative, and creative mode of narration. This paper focuses on the two phantasmal noh plays, “Izutsu” [The Well-Cradle] and “Matsukaze” [Pining Wind], in which female ghosts remember their past love affairs and indulge in romantic nostalgia.