Abstract
Since the survival of Noh theatre at the time of Zeami (1363–1443) and Kanami depended entirely upon the support of its audience, which consisted mainly of laymen, warriors and nobles, it was essential that each presentation had its own unique beauty and power enabling each performance to become an unrepeatable idiosyncratic event. In particular, Zeami demands that each performance will attain the goals of hana (the flower, i.e. a strangeness and novelty in beauty that will attract the audience) and yūgen (a mystic quality of beauty and elegance) on stage. In order to achieve these goals, he provides us with a great deal of suggestive and analytical ideas from various points of view, ranging from precise technical comments to pure metaphysical concepts.
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