Riken-no-ken, or “sight outside of sight,” is a term used in Ze’ami’s treatise on Noh, Kakyō. It refers to the performer’s ability to separate themselves from their own body and performance and evaluate their technique objectively. The antonym gaken, or “self-sight,” refers to a narrow, self-centered view, one which is sharply rejected as it allows the performer to fall to easily into complacency and self-satisfaction. This philosophy applies to all aspects of modern Noh, and is one the performers take to heart.
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