jm+Assignment+2


 * The Idea of Rapture as an Approach to //Kyougen.// Junko Sakaba Berberich. __Asian Theatre Journal,__ Spring, 1989. 26.2 pps. 31-44. **


 * In her article, Ms. Berberich talks about //kyougen// and the various ways in which "raptures" enhance their meaning and impact to the audience. From the onset of the article, she writes about //kyougen// seemingly from the perspective of a fervent admirer of the art, rather than as an academic scholar of it. That being said, she conveys a somewhat personal interpretation of //kyougen// in performance that is, nonetheless, still an intriguing read. **
 * Ms. Berberich first takes time to define //kyougen// by breaking down its constituent Chinese characters, finally settling on what she considers to be a more appropriate definition as the "language of derangement". Eventually, she clarifies her point by using examples of what she calls "raptures" in several //kyougen// plays. These raptures are the aimless wanderings by the characters in the play and serve to highlight their psychological states. From a frustrated retainer trying desperately to capture a nightingale to a husband engaging in a fierce "battle" to protect his beard from his overzealous wife who wishes to shave it, Ms. Berberich delineates several different forms, motivations, and degrees of raptures found throughout //kyougen// plays. **
 * The importance of this article lies mostly in its definition of the intent //kyougen// plays as a means of providing a contrast with //noh// by means of sharp psychological contrasts. It would likely prove most useful to a person not well versed in //kyougen// plays, however, as the argument seems slightly intuitive given experience with the plays over time. A scholar, actor, or regular spectator would likely not only be able to picture the specific instances Ms. Berberich alludes to, but to also bring to mind a similar conclusion regarding seemingly absurd behaviors portrayed in the plays. **
 * In terms of organization, Ms. Berberich's article is somewhat effective, as she alludes to major categories and then breaks each one into its constituent parts. Of course, the inherent problem with this method is that it may hinder the reader's ability to visualize all of the parts that make up the author's point. While this is only a mild problem for someone familiar with //kyougen// plays (given the intuitive nature of the argument), for a reader unfamiliar with the plays, this approach may obscure the point behind those categorizations. **
 * Overall, the article is well-written and extremely well cited. The reader can see that the author has extensive experience with performances of both //noh// and //kyougen// plays and can even feel the frustration of the characters she describes even if the reader is unfamiliar with the character or the work itself. This aspect alone supports the Ms. Berberich's assertion of psychological depth in //kyougen//, as the context is not necessary in order to understand and relate to the characters in the works she describes. **