Abstract

The stage of Izutsu of Zeami can be understood as a place of an appearance of a past through a remembering as an imitating. In the ordinary comprehension an imitation is grasped as what grounds on the distinction between archetype and copy. But the imitating of a lady in the piece doesn’t depend on such a distinction. The lady dances while imitating her husband. At that time she is also him who is imitated by her. This dancing of imitation isn’t based on that distinction. It is also her remembering. It goes beyond the horizontal breadth of the present, of »ima«, in the dailiness. Her remembering is directed at the unrepeatable past of »mukashi« when she lived with her husband. As Heidegger says, a player of Nō responses to what occurs to him, and he presents it to us through his gesture. In this way »mukashi« appears to us through the remembering as the imitating.