@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002029,
 author = {松井, 朔子 and MATSUI, Sakuko},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {4},
 month = {Feb},
 note = {pdf, Like some other modern Noh plays by Mishima，“Yuya” (1959) may be evaluated as an attempt“at a kind of poetic drama” 1) and “at a marriage between the drama of ideas and the poetic drama.“ 2) It is also important to note that it was an adaptation of a typical Noh play of yūgen-gentle splendour and graceful and subtle beauty.
The Kabuki dance play “Yuya”， which Mishima wrote in 1955 for Nakamura Utaemon, helps us to see how he interpreted the original Noh. We may also note there that “the flower” the main theme of the play, was successfully represented and the feelings of the play skilfully created.
Some vulgar elements were introduced into his modern Noh play, but it was still “the flower“ that the author intended to create by “modernizing”the purple passages of the original. The heroine’s words and action, replacing music, dancing and stage-setting of the classical plays, are there to show the movement of her mind and emotion. When the critical climax arrives, however, she is required to act almost like a classical Noh actor in the “iguse”sc ene, characteristically paradoxical feature that the least movement is the most powerful expression. It is not an easy play to perform.},
 pages = {11--23},
 publisher = {国文学研究資料館},
 title = {研究発表 三島由紀夫の近代能楽「熊野」について},
 year = {1981},
 yomi = {マツイ, サクコ}
}