Abstract
master actor, playwright, and teacher Zeami Motokiyo have long been considered definitive in presenting the theoretical foundations for the practical acting skills used in the Japanese no theatre.' Despite their focus on the particulars of no performing, their analysis of the nature of feeling in relation to the actor's art has significant implications for the broader topic of the phenomenology of acting. To appreciate their contribution to this important subject of emotions in a theatrical art, it will be useful to begin with a review of some familiar and often asserted Western ideas on what an actor feels or should feel.
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