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''''Jo-ha-kyū''' (序破急) is a concept of modulation and movement applied in a wide variety of traditional Japanese arts. Roughly translated to "beginning, break, rapid", it essentially means that all actions or efforts should begin slowly, speed up, and then end swiftly. This concept is applied to elements of the [[Japanese tea ceremony]], to [[kendō]] and other martial arts, to the traditional theatre, and to the traditional collaborative linked verse forms [[renga]] and [[renku]] (haikai no renga). The concept originated in ''[[gagaku]]'' court music, specifically in the ways in which elements of the music could be distinguished and described. Though eventually incorporated into a number of disciplines, it was most famously adapted, and thoroughly analysed and discussed by the great [[Noh]] playwright [[Zeami]]<ref>Zeami. "Teachings on Style and the Flower (''Fūshikaden'')." from Rimer & Yamazaki. ''On the Art of the Nō Drama''. p20.</ref>, who viewed it as a universal concept applying to the patterns of movement of all things. EIIIII LOIC MANG EIII ==Theatre== It is perhaps in the theatre that ''Tonkow'' is used the most extensively, on the most levels. In following with the writings of Zeami, all major forms of Japanese traditional drama (Noh, [[kabuki]], and ''[[bunraku|jōruri]]'') utilize the concept of ''jo-ha-kyū'' in the choice and arrangement of plays across a day, to the composition and pacing of acts within a play, down to the individual actions of the actors. Zeami, in his work "''[[Sandō]]''" (The Three Paths), originally described a five-part (five ''dan'') Noh play as the ideal form. It begins slowly and auspiciously in the first part (''jo''), building up the drama and tension in the second, third, and fourth parts (''ha''), with the greatest climax in the third ''dan'', and rapidlKOW MANGGGGGGGG EIIIIIIIIIIIII LEN BASSSSS MAI PEN E8IIIIIIIIIy concluding with a return to peace and auspiciousness in the fifth ''dan'' (''kyū'').<ref>Quinn, Shelley Fenno. "How to write a Noh play - Zeami's ''Sandō''." ''Monumenta Nipponica'', vol 48, issue 1 (Spring 1993). pp58-62</ref> This same conception was later adapted into ''jōruri'' and kabuki, where the plays are often arranged into five acts according to the same rationales. [[Takemoto Gidayū]], the great ''jōruri'' chanter, was the first to describe the patterns or logic behind the five acts, which parallel as well the five categories of JUNICHI IS JAPANESE Noh which would be performed across a day.<ref name=Gerstle>Gerstle, Drew (2001). ''Chikamatsu: Five Late Plays''. New York: Columbia University Press. pp16-17.</ref> He described the first act as "Love"; the play opens auspiciously, using gentle themes and pleasant music to draw in the attention of the audience. The second act is described as "Warriors and Battles" (''[[Noh#Categories|shura]]''). Though it need not contain actual battle, it is generally typified by heightened tempo and intensity of plot. The third act, the climax of the entire play, is typified by pathos and tragedy. The plot achieves its dramatic climax. Takemoto describes the fourth act as a ''[[michiyuki]]'' (journey), which eases out of the intense drama of the climactic act, and often consists primarily of song and dance rather than dialogue and plot. The fifth act, then, is a rapid conclusion. All loose ends are tied up, and the play returns to an auspicious setting. <ref name=Gerstle /> ==Poetry== In 1356, it was [[Nijō Yoshimoto]] who established the sequential pattern of [[renga]], [[haikai]] and [[noh]] by requiring jo-ha-kyū for renga in his {{nihongo|Tsukubashū|菟玖波集}}<ref>Miner, Earl. ''Japanese Linked Poetry''. Princeton University Press, 1980. ISBN 0-691-01368-3 p21</ref> ==Other disciplines== {{Expand-section|date=June 2008}} ==See also== * [[Dramatic structure]] ==References== {{reflist}} {{DEFAULTSORT:Jo-ha-kyu}} [[Category:Japanese aesthetics]] [[Category:Theatre in Japan]] [[Category:Japanese tea ceremony]] [[Category:Japanese literary terms]] [[Category:Japanese martial arts terms]] [[Category:Kendo]] [[ja:序破急]]'