What in Zeami's
Treatises resonated most profoundly
with our own precepts was his ceaseless struggle
to bring to life the relationship between inner
inspiration and outer expression.
This articulates itself on a number of different
levels. Confronting the mystery of our spiritual
and physical existence he states definitely that "the
essentials of our art lie in the spirit" and
insists that "there is nothing else involved
but to 'understand the No' with ones very being".
At the level of practical technique, following
from his observations about the precedence of Internalisation
and the dangers of "mere" "externalisation" and
his instruction that "an actor must learn
to truly 'become' the object of his performance
after which he can use his skills to depict the
role", he gives a proportional guide to the
dynamic of this inner/outer relationship: "What
is felt in the heart is ten, what appears in movement
Furthermore he elaborates the relationship between
voice and movement ('chant' and 'dance') in a similar
vein: "first communicate by ear then by sight".
There are numerous other observations which illuminate
this dialectic. In his description of the three
basic roles the variations in the dynamic between
inner and outer movement are configured like an
interweaving dance of different qualities.