NOH THEATRE

Contents

What is Noh? To begin with, what kind of thing is noh? Origins and History When did noh first begin? Is noh the same as Saru-gaku? Composition of Noh What are the roles of the shite and the waki? Shite-kata The shite is the main performer in a noh, shite performers also sing in the chorus.

Other Roles The shite, performs together with other major characters on the stage. Stage Noh was originally performed in open fields, the noh stage seen today was constructed later. Noh Masks What is the meaning of the mask that noh performers wear? Props What are the kind of props used on the noh stage? Vocal The melody of noh is quite unique. Music Noh music is made up of a delicate blend of melodies and sensitive, penetrating rhythms. Noh Dance Generally dance serves as the foundation through which the performers express the musical aspects of noh. Movement Patterns The refined movement is created through the beautiful execution of the set patterns. Costumes Another pleasure of noh are the exquisitely designed and embroidered costumes. What is Kygen? Unlike noh, kygen is an art form dedicated to laughter and comedy.

Noh Masks Catalogue

Zeami, the Originator of Noh

Stemming from the popular entertainments in Nara during the Heian period (794-1185), in

conjunction with various ritual offering dances, noh was created during the latter half of the

Kamakura period (1185-1333) and the early part of the Muromachi period 1336-1573. While

under the patronage of the shgunate and high-ranking noblemen, noh also came under the influence of some of the Muromachi periods popular arts including Zen Buddhism and ink painting.

Nohs founder, Zeami, is one of the most important historical figures in Japanese theatre. A collection of his treatises on noh, Fshi Kaden, was published some 200 years before Shakespeares theatrical debut. Even today, his treatises affect the lives of Japanese in unexpected ways.

Although Zeami is credited with having perfected Noh as it exists today, his book

"Jroku-bu-sh" was not discovered until 1883 (Meiji 16). Until that time, this historical genius of Japanese culture, whose talent was equivalent to that of Sen no

Rikyu, the founder of the tea ceremony, and Basho Matsuo, a haiku poet, had been forgotten not only among the public but also even among Noh performers.

The gem-like words Zeami left for posterity show us his sharp insight into the art of

performance as well as into society. Beyond the bounds of the centuries, his words impress us, living in the twenty-first century, and provide wisdom on how to live in

modern life.

His Dramatic Life

Zeami was born in 1363, during the Namboku-cho era, as the oldest son of Kannami, who was

the favored star in the Yamato-yoza (four sarugaku performance groups in the Yamato

region). His childhood name was Oniyasha, and his true name was Motokiyo.

When he was eleven years old, he performed the role of shishi (a lion) with his father in a Noh

performance competition in Imakumano. Beginning with this performance, Zeami was

recognized for his talents and became a star actor. Also, at this performance, he met the young

shogun of the Muromachi Shogunate, Yoshimitsu Ashikaga, and was invited to serve

Yoshimitsu intimately thereafter. Yoshimoto Nijo, who was the most sophisticated members

of the culturati of that time, also favored Zeami and provided him with the knowledge of

Japanese classics, such as the Kokinsh and renga poem (linked verse).

In Zeami's day, the shogun and aristocrats were quite important as patrons for newly emerging

arts. Therefore, it was a great opportunity for Kannami and Zeami to be recognized by the

shogun. Regarding his relationship with Yoshimitsu as a "peg boy," Masako Shirasu, a writer

who also learned Noh, notes in her book "Zeami," that "pederasty was neither unusual in

Zeami's time nor considered unhealthy as it is today. It was not considered sexual degeneracy

but rather was the extreme expression of the attachment between master and apprentice.

Ancient Japanese pederasty did not seek feminine beauty in naive boys but recognized boys as

the symbol of youth and beauty and sought the ideal of maleness within them. Among

Buddhism monks, there was a story of a monk who decided to enter the priesthood because he

found a personified Kannon (Deity of Mercy) within a beautiful boy." She continues that

"Zeami was not a person who indulged himself in the love of Yoshimitsu. He was a clever boy

full of curiosity. In his writings, he showed his appreciation for his debts to Yoshimitsu, but

he was not particularly boastful of his relationship with the shogun, and of course he did not

attempt to take advantage of the shogun's patronage."

Shortly after Zeami turned twenty, his father, Kannami, passed away while he was traveling

for a performance in Suruga (in present-day Shizuoka Prefecture). From that time on, Zeami

became the leader of the Kanze group in deed and in name and managed the group as

the shite, who was the stage director and the protagonist. He arranged and improved his

father's repertory dramas as well as created many new Noh dramas.

Although enjoyed favor in his own life, he suffered over the matter of choosing a successor.

Since he was not blessed with a child, he adopted a child, so-called Onnami, who was a son of

Zeami's younger brother, Kanze Shiro, Zeami started to think of carrying on the tradition of

his performance art and to write "Fshi kaden." This was a sort of guide written for his successors to sustain the highest status in the world of Noh, while it is recognized as a book of

quintessential art theory today.

Zeami and his wife were finally blessed with three children, the oldest son, Juro Motomasa,

the second son, Shichiro Motoyoshi, and a daughter, who later became the wife of Komparu

Zenchiku. Zeami suffered between favoring his blood-related son, Motomasa, and favoring

the Shiro/Onnami family since Onnami, Zeami's nephew and adopted son, was once

determined as his successor. Ultimately, Zeami handed down the "Fshi kaden" to Motomasa, when it was completed in 1418.

Although Zeami was once favored by the shogun Yoshimitsu, their relationship changed over

the years. Yoshimitsu came to favor Zeami's rival Noh actor, Inuoh, in his last years and

ranked "Dohami (Inuoh) as the best sarugaku actor." However, after Yoshimitsu's sudden

death from illness, Yoshimochi, who was a member of the culturati and familiar with Zen

Buddhism, became the next shogun. The new shogun favored Zohami, a dengaku actor,

instead of Dohami.

In 1428, Yoshimochi died and Yoshinori became the sixth shogun. Zeami's adopted son,

Onnami, performed the grand Noh performance for Yoshinori's accession to shogun, instead

of Zeami. From there on, Onnami became the leader of the Noh world, and the Kanze group

split into the mainstream of the Onnami group and the anti-mainstream of the Zeami and

Motomasa group. Around this period, Zeami's second son, Motoyoshi, entered the priesthood

probably out of despair regarding his future. Two years later, the first son, Motomasa, passed

away in his early thirties while performing in Ise (in current Mie Prefecture).

After losing his successor Motomasa, Zeami mentally relied on Komparu Zenchiku, his son-

in-law. In his very last years, Zeami passed down "Noh as a philosophy," including the theory

of Noh performance, to Zenchiku.

During such a period, another ordeal came to Zeami. In 1434, seventy-two-year-old Zeami

was suddenly expelled from the capital city of Kyoto and was banished to Sado Island (in

present-day Niigata Prefecture). It is unknown why the government expelled him because no

official record was left about his exile. The fact is barely known through the existence of his

letters to Zenchiku and "Kintoh-sho," his travel notes from Sado.

In 1441, the sixth shogun, Yoshinori, was murdered, and Yoshimasa Ashikaga assumed the

position of the eighth shogun. Onnami however maintained his privileged star position. The

current Kanze School is the lineage of Onnami.

No one knows when and where Zeami passed away. According to the tradition of the Kanze

family the date was 1443. If this is true, he was eighty-one years old at his death. It is said that

he probably died in Sado Island.

Funabenkei Toshiro Morita

Simplifying the Noh Stage, Dance and Music

One of nohs characteristics is that it is simple. Unlike Kabuki or modern theatre, the stage for noh does not contain large set pieces or many props. In addition, the audience is not cut off

from the open stage by a curtain.

In the singing of noh, the leadership responsibilities on stage are shared between the chorus

and the musicians. They, along with the performers, all appear on the stage together. The

music, like the movement, is stripped down to create a sparse, concentrated atmosphere

wherein the vocal and instruments can better express through nuance.

Highly Valued Overseas, Becoming an Intangible Cultural Heritage

From the Meiji Period (1868-1912), noh was widely introduced overseas to many thinkers and

theatre artists, and their work was greatly influenced by what they saw and heard. From the

1950s the establishment of performances of noh outside of Japan increased its visibility. Due to the high regard in which the international community came to think of noh, it was

designated an Intangible Cultural Heritage.

From Sangaku to Sarugaku

During the Nara Period (710-794), a form of popular entertainment named sangaku was

imported to Japan from China. This led to the development of sarugaku which included

pantomime, acrobatics and magic; and gagaku, a more solemn form of music and dance.

While gagaku was being performed for the noblemen and the imperial court at festivals and

ceremonies, sangaku (or sarugaku as it became) was spreading throughout Japan being

performed at shrines and on the roadsides.

As time went on and sangaku went through numerous changes, it took on the characteristics

of noh and kygen and became known as sarugaku. From the Heian and Kamakura periods to the Edo period, noh was called sarugaku or sarugaku noh.

Sarugaku Noh and Dengaku Noh

It is not clear when the word noh was first used, but long ago the word may have been used to

describe all kinds of performances. From the Nambokucho period through to the Muromachi

period, noh was widely divided into two categories called sarugaku noh and dengaku

noh. Sarugaku noh was largely based on mimetic movements whiledengaku noh was more

associated with symbolic movement. And while dengaku noh was accepted by the nobility

and performed largely in the capital, sarugaku noh was not accepted in the capital and played

largely in Omi, Tanba, Ise and the areas surrounding the capital gaining popularity.

The Four Seats of Yamato and Tachiai Noh

At that time both sarugaku and dengaku had formed groups known as the Sarugaku-za and

the Dengaku-za. Each group had a leader who acted as the chief support for the performances.

In Yamato there were four particularly strong groups: Yusaki-za, Sakado-za, Tobi-za and

Enmai-za. These four groups became the four oldest noh schools that remain today the Kanze,

Kong, Hsho and Komparu schools respectively.

It was each groups desire to rise to be considered the best in the capital. For that purpose, they gathered to perform in a kind of arts competition known as tachiai noh. Whoever was the

winner would be deemed the best and this led to a fiercely fought battle. Whoever was in the

top seat would have the most influence on the development of the art. It can also be thought of

as one of the reasons Zeami wrote his treatises Fshi Kaden.

Photo from National Noh Theatre

After the Introduction of Zeami

The founder of the Yuzaki-za, Kanami, adapted a form of storytelling dance

from sarugaku called, kusemai. He was the first to introduce this kind of dance into

noh. Kanami also created to famous noh Sotoba Komachi and Jinen Koji.

Kanamis son, Zeami inherited noh from his father and perfected it. In the Muromachi Period, with the support of the shguns Ashikaga Yosimitsu and Nijo Motoe, Zeami was able to develop his own art, borrowing the techniques of his rivals. It was during this time

that Zeami developed his notion of Yugen or mysterious beauty which he included in a number of his mugen noh (phantasmal noh) including the masterpiece Izutsu which is one of

over 50 noh that are attributed to Zeamis hand. Even now the same poetry and prose that he wrote are still being performed.

Following the death of Zeami, his nephew, Onami and the son in law of Komparu Zenchiku,

took over as head of the troupe and continued developing the art even as the Onin Wars

destroyed the capital. As all this was happening, noh still played a very active role in the lives

of the military commanders. Among them, Toyotomi Hideyoshi one of the great unifiers of

Japan, took a great interest in noh and studied with a Komparu Tay and commissioned noh with themes about himself to be created.

Recent and Modern Noh

Noh continued under the protection and patronage of the Tokugawa Shgunate. The second Shgun Tokugawa Hidetada made it a law that noh and kygen would be the official art forms of the shgunate and that the four sarugakutroupes from Yamato and the newly formed Kita troupe would be recognized as the official licensed performance troupes. From

this, nohs standing in society was fixed and it continued to grow in popularity with both the elite and the commoners. To this day, it continues to refine itself, however the creative genius

from the artists of the middle ages has been lost.

Following the fall of the Tokugawa Shgunate, noh too was in crisis. The following Meiji Period (1868-1912) saw the birth of a new government and industrial system in Japan as well

as a return of entertainment for ordinary citizens. Noh too went through a kind of

transformation with the development of the iemoto system, the merging of noh

and kygen into nohgaku, and the building of indoor noh stages. Recently, with the development of people practicing utai (vocal) andshimai (short dance) noh is poised to spread.

Present Time Noh and Mugen Noh

Many noh are taken from the Heike Monogatari (Tale of the Heike) and the Konjaku

Monogatari (Tales of Long Ago), very popular stories from the Muromachi Period (1336-

1573). Within these, noh can be divided into two categoriesgenzai noh (present time noh)

and mugen noh (phantasmal noh). Genzai noh, are noh with stories happening in the present.

While mugen noh have more complicated stores that involve dream states or visions

intersecting with present time stories as well. Though perhaps confusing, each of these types

of noh have a system of patterns, that once learned can make following easier.

The Structure of Mugen Noh

A traveler visits a place and meets a local person. The local person tells of an incident that occurred there. Finally the local person says, I am the person related to that incident and then vanishes.

This is the end of the first half and is known as the maeba. At this point the protagonist

or shite is behind the curtain offstage and the interval or naka iri begins.

Following the naka iri, the shite re-emerges from back stage for the nohs second half or the nochiba.

The spirit of the person from the first half then appears to the traveler in his dream

and through dance, in some way re-enacts the event discussed in the first half. The

traveler then awakens from the dream.

With that in mind, let us take a closer look at how the structure plays out in an actual noh.

Summary of Izutsu

Lets take a look at the noh Izutsu as an example. This is a mugen noh by Zeami considered one of his greatest masterpieces. The story is drawn from the Ise Monogatari or the Tales of

Ise. A summary of the noh follows.

Maeba (First half)

or the souls of Arihara Narihira and his wife. A village woman appears.

The woman, while drawing water from the well and tending to an old grave, tells

of Narihiras infidelity and his eventual realization that his own wife was not having an affair and his re-falling in love with her. She then tells the priest, The two were childhood friends and they often played around this well, even when they became

adults. I am the woman of this well and the mans wife. Having revealed herself she disappears.

Naka iri

Nochiba (Second half) The priest decides to pray for the soul of the woman of Izutsu, Narihiras wife. Then, while sleeping, the spirit of the woman appears to him wearing the robe

of Narihira. She then dances retelling the story, conjuring thoughts of Narihira and

seeing her reflection in the waters of the well. Before long, dawn breaks, the

woman vanishes and the priest arises.

In the first half, a village woman relates to a traveling priest, the episode of Narihira and the

woman of Izutsu. As she says, Actually, I am the woman of Izutsu revealing her true self and then disappears. Following the interlude, in the second half the spirit of the woman

of Izutsu appears to the priest in a dream wearing the cloak of Narihira and dances about her

longing for him. The woman who had appeared in the first half to the traveling priest, then

appears to him in his dreams and in this way shows us the typical form of a mugen noh.

The Appearance of Living People, The Development of Genzai Noh

In mugen noh, the shite is either a ghost, vengeful spirit or some otherworldly character.

In genzai noh, the shite portrays a living person whose story develops throughout the piece

rather than reliving the past. Examples of genzai noh where mothers are searching for lost

children are Sumidagawa (Sumidagawa River), Miidera (Miidera Temple) and

Sakuragawa (Sakuragawa River). Funabenkei (Benkei on the Boat) is an example of a genzai

noh in which the famous general Yoshitsune is escaping to the western provinces of Japan.

Roles in Noh

The main performer in a noh is called the shite. The range of characters that a shite can

portray is vast, including: gods, warrior ghosts, female ghosts, madwomen, living men or

women, or fanciful otherworldly beings like tengu (long-nosed goblins) or dragons. In the first

half of a noh the shite is called the maeshite or maeshiite, and in the second half the shiteis

called the nochishite or nochijite. In a mugen noh, the maeshite and the nochishite may be

completely different characters but are almost always played by the same performer.

A noh really centers on the shite and could be called, shite-centric. It is generally the role of the shite to not only perform the main role in a noh, but to act as both producer and director in

stage action as well as casting to a degree.

Another role, the waki, while known as the secondary role, is in some ways an equally important part of a noh and included in nearly every noh. The waki plays a variety or roles like

a traveling priest or the former foe of the shite, but in amugen noh there is one large

difference. The waki is always a living character. In the mugen noh, it is generally that theshite is in some way afflicted and the waki is there to help the shite receive some kind of

release.

It is not at all unusual in noh to have just a shite and a waki as the main players or tachikata on

the stage. Tachikata are the performers portraying characters on stage.

In addition, there are sometimes accompanying performers with the shite or the waki. In this

case, they are known asshite tsur or waki tsure respectively. An attendant to the shites character (not a stage attendant) is known as a tomo. There are also roles for children in noh.

These roles are called kokata. A kokata does not necessarily have to play the role of a child,

but it is a role designed to be played by a child.

In mugen noh the maeba and the nochiba are separated by the naka iri in which

the waki receives advice from a local person regarding the encounter he has just had. In these

cases the role is played by a kygen actor in a role known as theai kygen or sometimes simply as the ai.

Types of Noh

Noh can be divided into five different categories: god, man, woman, mad-woman, demon. In a

full noh program, on noh from each category would be played. This is known as goban date.

The tradition of gobandate was developed in the Edo period. In between each noh a

separate kygen play would be performed. A typical gobandate would start in the morning with an invigorating god noh followed by the brave tales of a warrior noh. This would be

succeeded in the afternoon by the beauty of a womans story. Heading into evening would be a madwomans tale, which would employ a variety of emotions. When evening fell, the time for otherworldly spirits to be awakened, a demon noh would be performed. Due to the

exhaustive number of hours required of both performer and audience, the gobandate is rarely

held today. However, these categories are carefully considered when deciding a noh program

today.

In addition, when a gobandate is being performed, it is proceeded by a piece called Okina.

Originally developed by theOkina Sarugaku this has become to be known as the noh that is not a noh as it is more of a ritual ceremony than a noh. Due to its revered status, it is performed as an opening for New Year performances and at important anniversaries or events.

Noh Categories and Examples

God (First Category) Noh in which the shite plays the role of a god are called (shobanme mono). Since these noh also

sometimes accompany Okina, they are also known as waki noh (accompanying noh). The

appearance of a god can signify the promise of peace, happiness, abundant crops or the like. Often

the maeshite is in the form of an old man and the nochishite enters as the true embodiment of the

god. Takasago, Oimatsu and Yoro are noh in this category.

Man (Second Category) Men are the main role in this category and the shite usually plays the tormented soul of a warrior.

This category is also known as shura mono (warrior hell). These tales are taken predominately from

the Heike Monogatari (Tales of the Heike) in which a warrior is seeking redemption or forgiveness

from warrior hell, where all warriors are fated to enter. Noh in this category include: Atsumori,

Kiyotsune, Yashima, Tomoe.

Woman (Third Category) The woman category is also known as kazura mono (wig noh). It is the central noh in

the gohbandate and is usually about the ghost of a woman and the themes center around love and

suffering. Often the ghost is condemned to wander the earth trapped somehow by the love that she

feels. Noh in this category include Hagoromo, Izutsu, Matsukaze, Teika.

Crazed (Fourth Category) Also known as kyjo mono (crazed woman) or kurui mono (crazed), in these noh, the shite takes the role of a crazed person. In this case, crazed is not meant in terms of being clinically insane, but rather

being driven mad by some terrible situation that has befallen them. Zatsu noh (Other noh) is another

name sometimes given to this category as noh which do not easily fit in elsewhere are often put in

this category. Noh in this category include: Sumidagawa, Hyakuman, Kanawa, Dj-ji .

Demon (Fifth Category) Shite performing in this category portray demons, goblins, fairies, dragons and otherworldly

creatures. As this is the fifth and final noh in a gobandate it is also known as kiri noh mono (ending

noh). With intense dance, complicated drumming and lively music, these noh are in some ways the

flashiest pieces. Noh in this category include: Nue, Sesshseki, Kurozuka/Adachihara, Shj.

Noh is an art form in which the division of the roles is very clearly defined. Thetachi kata are

the three main roles in charge of song and dance: shite, wakiand kygen. The hayashi are the musicians at the back of the stage and they are divided into four instrument

groups: fue (flute), kotsuzumi (shoulder drum), tsuzumi (hip drum), and taiko(stick drum). Furthermore, each of the aforementioned groups is also broken up into a number of

different ry or schools.

Up until the Edo Period waki, hayashi, and kygen were known as san-yaku and each shite school had its own group of these specialist to work with. From the Meiji

Restoration this system began to fall apart and today these san-yaku are independent from

the shite school and split into seven different disciplines and twenty-four different schools.

Each school in the different disciplines of shite, waki and kygen has developed its own style of dance and delivering prose and poetry, while each school in the different instrument

disciplines has developed its own patterns and notation. Basically shite are no longer in

control of the other players that accompany them in their performances. Also members of the

other disciplines are free to form alliances with other theatres as they like.

The Five Shite Schools

Along with the assuming the main role in a noh, the shite are responsible for fulfilling the

roles of the chorus, as well asshite-tsure, and kokata should that particular noh require them.In

addition, at the back of the stage, two kken (stage attendants) sit to help with costume changes, retrieve props and feed the shite lines should he forget. The koken are also shite-

kata from the same school as the main performer. As theshite performers have considerably

more responsibilities, it makes sense that compared to the waki, kygen and hayashi, their numbers are far greater.

The five current shite schools are Kanze, Hsho, Konparu, Kong and Kita, of which the first four were founded in the Muromachi period and were known as the Yamato Sarugaku Yoza.

Kanze School () The Kanze school, is named after a childhood name of its

founder Kannami.Kannamis son, Zeami was the second leader of the school, who was then succeeded by his nephew Onnami as his

son, Motomasa, died young.

During the Muromachi period, only the Kanze school received

protection from the shgunate. Then, during the Edo period, the Kanze school assumed the head of the four schools designated by

the Tokugawa Shgunate. The Kanze school had formed a relationship with the Tokugawa's back before they came to power

and were living in Hamamatsu Castle, thereby securing their

preferred status in the noh world.

Another cause for their prosperity was the popularity of their singing

style even from the Muromachi period. To this day, theKanze school

holds the most influence among the noh schools and performs with

grace, and characteristic sensitivity.

The Hsho School () Founded by Kannami's eldest brother Hsho Dayu, the Hsho School originated from the Tobi-za, one of the four Yamato Sarugaku Yoza. The group eventually named

themselves after their main performer Hsho Dayu. The fifth shgun of the Tokugawa period was particularly taken by the Hsho style and was their top patron. They were also the favorite troupe in

Kagahan (current Ishikawa area) and because of this, they still have

a strong influence in the noh of modern day Tokyo as well as Hokuriku area. In addition, the 11th

shgun Ienari was very fond of theHsho School. The Hsho style is described as dignified and the Hsho Singing is said to be sensitive and refined.

The Komparu School () Ancestral links between the Komparu School and Hatano

Kawakatsu can be made. Among the three shimogakari schools

(Komparu, Kong and Kita. TheKanze and Hsho schools are known as the uegakari schools,) The Komparuschool has the longest

lineage and therefore the most notable social status. The roots of this

school are in Nara and consequently they have a strong relationship

with Kofukuji Temple as well as the Kasuga Palace.

The name of the schools founder, Komparu Gonnokami, can be found in theSarugaku

Dangi (Discussions on Sarugaku). Other notable members of this school are Zeamis son-in-law Komparu Zenchiku and Zenchikus grandson Zenp, who are remembered not only for their performance but for their theoretical as well as their dramatic writing. Zenchikus masterpieces, Bash and Teika are well known for their markedly different use of ygen (mysterious beauty) as compared to the works of noh master Zeami. When the shgunate was under the control of Hideyoshi Toyotomi and his nephew Hidetsugu, the Komparu school prospered and flourished,

but when the Edo period began, both the Kanze and Kita schools became more popular as

the Komparu school fell out of favor.

Today Komparu school activity centers around Tokyo and Nara. Their performance can be

characterized as having residual grandiosity from the time-honored traditions. Their singing style is

thought of as possessing a free, open-hearted sense to it.

The Kong School () The Kong School seems to have been formed out of the Sakado-za sarugakugroup which was connected to Horyu

Temple. From the Muromachi period to the Edo period, it was

not held in high favor. In 1576 7th master Kong Ujimasa died thereby bringing an end to the traditional family line of

sarugaku. Towards the end of the Edo period through the Meiji

period, the Kong school produced some unusually strong talents such as Kong Tadaichi (who developed the idea for the 1000 string performance of Tsuchigumo). Then in 1937 (Showa period year 11) with the death of the

23rd generation Kong master Kong Ukyo, the Saka-do Konglineage came to an end. Today disciples from the Nomura family line of Kongperformers center their activity in Kyoto and Tokyo. Today the Kong Dance is known for its magnificent grace.

The Kita School () Starting at the beginning of the Edo period, the Kita school was

founded byShichiday Chn(or Osayoshi). Chn started as a shite in the Kong school and then in the Genna period (1615-1624) he set out independently and thus began

the Kita school. Even though the heads of the Tokugawa

shgunate Ieyasu and his son Hidetada were patrons of the Kita school, it was eclipsed in popularity by

the Kanze and Hsho schools. These days, their popularity stems from the vestiges of their firmly planted roots. Their performance style can be characterized as samurai-like with a thick layer of spiritualism, full, simple and vigorous.

Waki-kata

From the Muromachi period the specialty roles of the waki were developed separately from

the shite and became a family business in that the art was handed down from generation to generation. After the period of za-tsuki, in which theshite schools were in control of the waki,

the waki schools are now independent and are hired separately by the shite. The

current waki schools include: Takayasu, Fuku and Shimogakari Hsho.

Hayashi-kata

Hayashi-kata are responsible for the instrumental music of noh. The noh hayashi or orchestra

is comprised of four instruments: fue (flute aka noh-kan), kotsuzumi (small hand drum played

at the shoulder), tsuzumi (large hand drum akakawa played at the hip) and taiko (stick drum) altogether they are also called shibyoshi. The musicians study all the instruments, but

specialize in only one. The traditional teaching method is one that is handed down from

generation to generation.

The current schools are as follows

Flute Iss, Morita, Fujita Kotsuzumi Kanze, kura, K, Ksei tsuzumi Kadono, Takayasu, kura, Ishii, Kanze Taiko Kanze Komparu

In a noh performance, the four musicians, one of each instrument, sit at the back of the stage

in an area called the hayashi-za. Occasionally a musicians assistant sits behind them during a performance.

Kygen-kata

Kygen, developed at the same time as noh from sarugaku, can be divided into three classifications: hon-kygen(performed independently), ai-kygen (performed as part of a noh) and Sanbas aka betsu-kygen (performed as part of the noh Okina).

In general, when one thinks of kygen, one thinks of hon-kygen. Hon-kygen is a comedic farcical form commenting on everyday life. Typical stories involve characters such as: a

feudal master and his servant Taro Kaja, a father and son-in-law, a nagging wife or a foolish

thief to name a few. There characters were typical inhabitants of life in feudal Japan and these

stories are humorous, and take on the everyday occurrences from that time.

The kygen performed in the middle of a noh is called the ai-kygen or the ai for short. In a two act noh, while the shiteis changing costumes between the maeba and

the nochiba the ai will frequently perform the i-gatari. The i-gatari is usually a local person

who will retell the story of the shite from the first half in order for the audience to more easily

understand. The local person may also have a dialogue with the shite or waki to introduce the

second half. This is known as ashirai-ai.

The schools of kygen-kata include the Okura school and the Izumi school.

The noh stage is an extremely simple

space in which there is no curtain

between the playing area and the

audience. Originally, noh was played

in open fields. In order to retain the

idea of performing outdoors, the

modern noh stage, though fashioned

indoors, is designed complete with

details such as a roof, bridge with a

handrail and a pine tree painted on the

back wall.

Another example of the thoughtful

design is the change in perspective of

the three pine trees that run along

the hashigakari (bridgeway). The tree closest to the stage entrance is smaller than the one

closest to the stage in order to give a sense of distance. In addition the lighting is arranged in

such a way as resemble natural lighting.

In terms of the sound, various devices are used to help amplify the natural sound. It is said that

under many noh stages large empty clay jars are placed to aid in the sound of not just

the shites stamping, but the resonance of the drums and flute as well as the voices from the chorus (The National Noh Theatre does not have jars under its stage.)

Noh Stage Construction

The noh stage is constructed from hinoki (Japanese cypress). At the back of the stage is

the kagami-ita (back panel, usually displaying a painted pine tree). In the front of the stage is

the kizahashi (decorative staircase). Coming off the left side of the stage is

the hashigakari (bridgeway). At the end of the hashigakari is the agemaku (curtain) which

marks the entrance to the backstage area. It is thought that this current standard stage

construction was established just before the reign of the well known Shgun Oda Nobunaga (circa 1550). The Northern Noh Stage, located Nishi Honganji Temple in Kyoto, is the oldest

standing stage of this type of construction and is said to have been built by Toyotomi

Hideyoshi.

The complete noh stage is comprised of the hon-butai (main playing

area), hashigakari (bridgeway), ato-za (seating section for musicians and stage attendants) and

the jiutai-za (seating section for the chorus). The main playing area is 5.4m per side.

Hashira The main stage has four hashira or bashira (columns): the sumi-bashira, waki-bashira, shite-

bashira, and the fue-bashira. As the shite wears a mask while performing, the hashira are a very

important tool for the shite to gauge their location on stage. The sumi-bashira is a particularly

important marker and also has the name metsuke-bashira or eye-fixing column.

Kagami-ita The back wall of a noh stage is called the kagami-ita on which a pine tree called the oi-matsu is

painted. This is said to be the eternal backdrop of noh. The Yg no matsu (The Yg Pine Tree) is said to be the model for which the kagami-ita is based, and can still be found at the Kasuga Shrine in

Nara. While the noh stories may change, the backdrop does not. All noh are performed in front of

the kagami-ita.

Jiutai-za and Ato-za Off to the right side of the main playing area is the jiutai-

za (seating for the chorus). The back of the stage is known as

the ato-za and is the spot reserved for the hayashi(musicians) and

the koken (stage attendants). In contrast to the main playing area

where the boards lie vertically, in the ato-za the boards are laid

horizontally, and is also known as the yoko-ita.

Hashigakari Running from the ato-za off to the left of the main playing area is

the hashigakari(bridgeway). The hashigakari is used not just for

entrances and exits, but also as another playing area for some

important scenes. As opposed to the openness of the main playing

area, the hashigakari is linearly laid out and consequently aids in

creating a feeling of depth. The shite then can use

the hashigakari to better express their mental state.

Agemaku and Kiridoguchi There are two entrances to the noh stage, the agemaku and

the kiridoguchi orkirido. The agemaku is located at the end of

the hashigakari and is the five-colored curtain that is raised and

lowered for the entrance and exit of the shite, waki, tsure,waki-

tsure, kygen, and hayashi. The kiridoguchi is located on the right side of theato-za and is a small sliding door that is used for

entrances and exits of the kken(stage attendants) for both the shite and the hayashi, as well as for the jiutai(chorus).

Kagami-no-ma The kagami-no-ma (mirror room) is located behind

the agemaku and is where theshite puts on the mask being used for

the noh. This is also where the hayashi playoshirabe (warm-up

music). It can be said that when the shite and hayashi enter this

area, the noh has begun.

Kensho The audience seating area in a noh theatre is called the kensho. The seats located in front of the stage

are called shmen, while the seats on the left side of the stage are called the waki shmen. Audience members sitting in the shmen section have the best view of the mask effects, while the advantage of sitting in the waki shmen is the close proximity to the hashigakari. In between the two are the naka shmen seats which lie in front of the metsuke bashira. Older noh theatres have tatami rather than seats, while almost all large modern noh theatres are made with fixed seats. Some noh theatres are

also equipped with balconies.

Noh Theatre

Long ago, noh was performed in open fields, while today it can be seen in a wide variety of

settings: noh theatres, public concert halls or temporary stages. When performed in open fields

it was many times in the service of a temple ceremony or a festival. Takigi noh (fire light noh)

still utilize open fields to perform in. Above all, there are many noh performances, many

locations, really any place can be a noh theatre.

National Noh Theatre Stage National Noh Theatre

At the National Noh Theatre in Tokyo you can enjoy performances from all five shiteschools

and both kygen schools year round at a reasonable price. Along with performances, the National Noh Theatre also sponsors lectures and exhibits throughout the year. In addition,

they have a substantial library containing books and articles concerning noh.

Each shite school has its own noh theatre: in Tokyo, the Kanze Noh Theatre (with approx. 26

school sponsored performances and approx. 130 associated performances), theHsho Noh Theatre (monthly performances as well as many other sponsored events) and the Kita Noh

Theatre (monthly performances as well as other sponsored events). In Kyoto the Kong Noh Theatre presents a number of performances a year. At the Komparu Noh Theatre in Nara there

are currently no performances scheduled.

Takigi Noh

TOSHIRO MORITA

The outdoor performances of takigi noh(torch lit noh) have become popular all over Japan.

Held on the grounds of temples, shrines or public parks, these performances combine the

beauty and feeling of natural surroundings, with the grace and beauty of the performance on

stage. In the early part of evening, a torch lighting ceremony takes place setting the stage for a

magical evening.

Takigi noh has as its origin takigi utage, the precursor to the popular shuni-e ceremony, which

took place at Kofukuji Temple in Nara in the Heian period (794-1185). This eventually

developed into takigi noh. Even today on May 11 and 12 Okina is performed as a dedication

at Kasuga Shrine and Kofuku Temple.

It was only as recently as 1950 that takigi noh started taking on the implication of relaxing

entertainment at the Heian Jingu Shrine in Kyoto.

As Noh is an art form that utilizes masks, there is a great variety of them. There were

originally about 60 basic types of noh masks, but today there are well over 200 different kinds

in use.

Covering the face with a mask is much like wearing makeup. However, noh performers feel

that the noh mask has a certain power inherent in it which makes it much more spiritual than a

prop used to change ones appearance. Taking into account the status of a certain noh, the noh

performer will carefully choose a noh mask, known also as a noh-men or omote. In most

cases, the exact mask is not predetermined, but depending on which noh is being done,

the shite has a variety to choose from. In the end, it is up to the shite to make the final

determination as to which mask is chosen.

Origin of the Noh Mask

Exactly when the noh mask came into being is not entirely clear however it is believed that

masks, and their names still used today, were developed from the mid to latter part of the

Muromachi period (1392-1573). Previous to that time, the mask conventions were not entirely

set and masks themselves had stronger religious connotations. It was during the Muromachi

period that the religious significance of the masks began to wane and they took on more

human characteristics. It is thought that as performers started to think more about the use

of ygen (mysterious beauty) and profundity, they felt they needed to hide the unattractive

aspects of their own faces and concentrate on making the beauty of noh stronger.

Between the end of the Muromachi period and the modern age the art of making noh masks

was established as a hereditary art with a long lineage. Two examples are the Deme family

from Echizen (present day Fukui prefecture) and the Iseki family from Ohmi (present day

Shiga prefecture). Following the establishment of noh mask making families, the stylization of

noh masks significantly advanced. Even today there are many independent mask makers.

While some nohgaku performers still make their own masks, the performance world and the

mask-making world are essentially independent of each other.

Noh Mask Expression: Teru and Kumoru

As it is often difficult to tell the actual feelings expressed in a noh mask, it is said to be made

with a neutral expression. The mask carver tries to instill a variety of emotions in the mask.

It is up to the performer to imbue the mask with emotion. One of the techniques used in this

task is to slightly tilt the mask up or down. With terasu (tilting upwards) the mask appears to

be slightly smiling or laughing and the expression lightens somewhat. While kumorasu (tilting

downwards), produces a slight frown and can express sadness or crying. Basically, by using

minute movements, the performer is able to express very fully.

Putting on a Mask

Noh masks, like costumes and props, are extremely valuable

heirlooms and handed down from generation to generation.

After having the costume put on, the shitethen goes to

the kagami no ma (mirror room) where in front of a mirror,

the shitefaces the mask. In putting the mask on, the

word kaburu (putting on clothing) is not used. Instead the

word kakeru (to hang) ortsukeru (to attach) is used. In this

way, it is implying that the performer is becoming the mask, and its emotions, in order to better express the

characters feelings.

In reality, a noh mask does not entirely cover a noh

performers face when it is being worn. In fact, it is thought best if some part of the chin and/or jowls show.

Also, as the eye holes of the mask are very small, the field

of vision of the performer is very limited when wearing the

mask. Consequently the simple design of the stage and the

use of hashira (pillars) assists in helping the performer

know their location during a performance.

Hitamen

Not all the main performers on stage wear masks in noh.

Usually the shite and the tsure wear masks and occasionally

there are instances where the ai will as well. The waki as a

rule, playing a character who is living in the present, does

not wear a mask. This is called hitamen or a direct mask.

However, even without wearing a mask, the performer is meant to make their face a mask. The performer must inject power and emotion into their performance while not using their

face to express. In some genzai noh the shite or tsure do not wear masks.

Types of Noh Masks

Okina (Old man masks) This type of mask originated from sarugaku, the predecessor of noh, in the latter part of the Heian

period. This is the oldest type of noh mask.

J (Elders masks) Examples of this type are the Koj, Asakuraj, Sankj and Waraij masks. These masks are often used in the first half of first or second category noh when the shite is portraying a spirit.

Onna-men (Woman masks) When most people think of noh these are the masks that come to mind. That being the case, these

tend to be the most varied and popular masks. These masks are categorized by age and character.

Examples of beautiful young women masks are the: ko-omote, wakaonna, z and magojir. The miona mask also portrays a young woman, but with more of a working class background. Fukai and shakumi masks are both used to play mature, middle-aged woman of

elegance and grace however the latter displays a stronger character. The deigan mask has gold

rimmed eyes which implies that the character is otherworldly. Examples of masks for playing old

women are rjo and uba.

Otoko-men (Man masks) Heida, chj, jroku, hatachi-amari, dji, kasshiki, and yase-otoko are all examples of masks in this category which are classified according to social class and character.

Kishin (Demons) These masks were developed early in nohs history and are used for portraying demons, goblins or other worldly creatures. This category is divided into two main parts, tobide (fierce gods or demonic

spirits) and beshimi (goblins and other creatures).

Onry (Ghosts and Spirits) These masks are used for spirits of the dead who have regrets of some kind. In this category there are

both male and female masks. Examples of male types are ayakashi, yase-otoko and kawazu.

Examples of female types are yamamba, deigan and the famous hannya masks.

On the noh stage, large realistic props, scenery or revolving stages are not used. That is not to

say there are no props. Noh employs the use of tsukurimono (lit. made things).

There are many types of large tsukurimono. Rather than realistic representations, these simply

made props are more symbolic and can imply a: shack, rock, boat, bed, well, bell, castle, fence

or grave among other things, to effectively help convey the story. For example, four bamboo

pieces can be lashed together with cloth to create the idea for the frame of a house or a well

can be represented as a bamboo frame with a cypress branch attached on the top.

Boat from the noh Eguchi TOSHIRO MORITA Spider web from the noh Tsuchigumo TOSHIRO

MORITA

As tsukurimono are merely created as symbolic representations, they can be easily built and

broken down. In fact, they are usually made the day of a performance by apprentice

performers at the theatre. Their construction is comprised mostly of a bamboo frame wrapped

in strips of cloth. They can generally be created in about one hour and are taken apart and

returned to storage after being used.

While the use of priceless family heirlooms such as masks and costumes is reserved for the

more experienced performers, apprentices are permitted to make tsukurimono.

The Dj-ji Bell

Apart from all other tsukurimono, the bell from the noh Dj-ji is exceptional. Different from the simplistic structures of the other tsukurimono, the Dj-ji bell has about 80kg of lead weight attached to the bottom. The reason for this is that during the climatic scene the shite, in

this case a shira-byoshi (female dancer dressed as a male), leaps into the bell as it falls to the

stage. The weights are needed to maintain the proper balance of the bell as it falls, so that

the shite can gauge the timing.

Due to the complicated nature of the bell, the frame and exterior take about one day to build

and prepare. Consequently, it must be made in advance at the theatre by the apprentices and

covered in a cloth until the performance.

It is the responsibility of the shite to prepare the interior of the bell. Because of its special

nature as being one of the right of passage noh, preparing the interior is a secret. Only the performer and those who have done it before are permitted inside the bell.

Dj-ji TOSHIRO MORITA

Backstage at the National Noh Theatre, the bell for Dj-ji is set in preparation. Shigeyoshi Ohi

The special hardware used to hang the bell for the noh Dj-ji. D. Shigeki Ogasawara

Noh music is made of two parts; utai (Vocal) and hayashi (music). Utai is performed by

the shite and members of his school, while the hayashi is performed by hayashi-

kata(musicians). While the shite or waki sing to move the story forward, the ji-utai (chorus)

sing as an accompaniment to the dance or sometimes for the inner thoughts of the shite. They

can also sing in the first person, as theshite, in response to questions from the waki, however,

they themselves are not characters in the noh.

As mentioned, the ji-utai are all members of the same school as the shite. They sit in two rows

on the right side of a noh stage called the ji-utai-za. In the center of the back row is the ji-

gashira (lit. chorus head). It is the ji-gashiras job to lead the chorus and make sure they are in rhythm with the hayashi.

Unlike Western music, there is not a set pitch or musical scale in utai. The pitch is set by

the shite and adjusted by the ji-gashira and can be said to be elastic. The group that makes up

the ji-utai sings as one voice. In contrast to Western music, there are no harmonies. It is the

role of the ji-gashira to adjust tone and be clear with the timing to control the overall feeling

of the noh.

Basic Structure of Utai

Utai is generally based on a 7-5 or 12 syllable count sung over an 8 beat measure. There are

three different types ofhyshi-ai (matched) rhythms in noh: hiranori or knori, chnori and nori. Hiranori employs the standard 12 syllables over 8 beats, has the most variation and is the most complicated. Chnori is a rhythm in which there are two syllables for each beat and nori uses one syllable for one beat. In the hyshi-awazu (unmatched) sections, the drums and the singing do not correlate with regards to beats and syllables.

In terms of the singing style of utai, there are two main categories. Tsuyo-gin or gogin (lit.

strong singing) is a non-pitch oriented singing style that tends to be classified as solemn and

dynamic. Yowagin or

just wagin (lit. weak) is a

melodic singing style that

can be used to express

sentimentality or beauty.

The music of noh is played by the hayashi. As each part of noh is an integral piece of the

whole, the hayashi is not considered to be accompanying the shite or ji-utai, but is instead

playing with them, equally.

Shibyshi

The hayashi is made up of four instruments: fue (flute), kotsuzumi (shoulder

drum), tsuzumi (hip drum), and taiko (stick drum), these four instruments are also known as the shibyshi. Most of the musicians are from an established family in the noh world. And while each musician has studied all the instruments intensively, they specialize in only one

and will only perform that one instrument in their career in noh.

The leader of the hayashi in performance is the taiko, however in noh in which the taiko is not

appearing, daisho-mono, the tsuzumi is considered the leader. Interestingly, the sound of hitting the drum is not the only way to keep rhythm in noh. The drummers also use their

voices to create drum calls or kakegoe which are used before hitting the drum to help adjust

the timing and drive the rhythm. The sounds, yo, ho, yo-ii, ii-ya and others can be heard from the drummers while they are playing.

Fue (Flute)

The transverse flute used in noh is made of bamboo and called the fue or noh-kan. And while

among the four instruments it is the only one with a melody, in noh, rhythm is in some ways

more important than melody. It is this emphasis on rhythm rather than melody that makes

the fue unique.

Fue TOSHIRO MORITA

There are two basic playing modes for the noh-kan. Ashirai-fuki, is an unmatched playing

mode, where the noh-kanplays independent of the rhythms of the drums. Awase-fuki is a

playing mode where the noh-kan follows the rhythm of the drums.

In order to de-emphasize the melody of the flute, every noh-kan is made slightly differently by

varying the length of the body as well as the positioning of the fingering holes. This in turn

makes the melodic range and the quality of the sound different from instrument to instrument.

In performance, the noh-kan is striving to create a sound that will ornament the singing and to

help express the feelings of the shite.

The current schools of fue-kata or noh-kan players are the Iss, Morita, andFujita.

Kotsuzumi (Small hand drum)

The kotsuzumi (lit. small drum) is a popular instrument that is one of the components creating

the rhythms of noh. Held in the left hand at the right shoulder and struck with the right hand,

the pitch of the drum can be adjusted through the squeezing and releasing of

the shirabeo (chords used to hold the drum heads onto the hour glass shaped body). Through

this manipulation of the shirabeo, four distinct sounds can be made. In order to create a

beautiful sound, the drum-heads must be kept slightly moist. To maintain this moisture during

a performance, a drummer will diligently either blow hot air on the drum head or more

directly, apply saliva to small pieces of paper that have been stuck to the rear drum head.

Kotsuzumi TOSHIRO MORITA

The current schools of kotsuzumi-kata are the Kanze, K, Ksei and kura.

tsuzumi (lit. large drum) / kawa (lit. big skin)

The tsuzumi can be considered the leader of the two hand drums. The shirabeo (chords used to tie the drum heads to the body) are tied very tightly and there for the sound produced is

sharp and hard. The variation of the sounds for this drum are determined by the strength of the

hit and whether the drummers hand remains of the drum after striking it. It is held in the left hand and rests on the left hip while being struck by the fingers of the right hand. To produce

the desired sound the drum heads need to extremely dry. This is achieved by heating the drum

heads over charcoal for about one hour before performances. The contrasting sound of the

soft kotsuzumi with the sharp tsuzumi creates a harmony on stage.

The current schools of tsuzumi are the Kadono, Takayasu, kura, Ishii, and Kanze.

Taiko (stick drum)

The taiko is a barrel-type drum that sits on a wooden stand and is hit with bachi (wooden

drum sticks). There are two overall methods of playing taiko. By leaving the bachi on the

drum head after striking, the drummer can dampen the sound; or to create a resonating sound,

large, medium or small strokes can be used. By using the two bachi to create complicated,

driving rhythms, the taiko can add great effect to noh. Therefore, it is often used to accompany

characters of extreme grace or vibrant characters such as gods, demons or possessed spirits.

Still, as the sound of the taiko is so powerful, even in noh where it does appear, it almost

never plays during the whole piece. Usually it only plays during the second half.

Taiko TOSHIRO MORITA

The current schools of taiko are the Kanze and Komparu.

The mai (dance) of noh, along with the musical

elements of song and instrumental music are

components of this comprehensive art form. Maican be

called the foundation of the form. The dance of noh is

not simply the expression of the body moving through

space, it has a much deeper meaning. When one is said

to perform noh, one is said to dance noh. In a broad sense of the word, mai expresses much more than just

the music and the movement, it somehow encapsulates

the comprehensive nature of noh.

The word mai is also used for a specific dancing section

of a noh. Thesemai, with names like ch-no-mai or jo-no-mai, feature the flute and the drums playing in a

rhythmic

fashion, timed to

coincide with

the shitesdance.

Types of Mai

Depending on whether the character is male, female or

other, and depending on the category of noh, shgen-mono (god-theme), shura-mono (warrior-theme),

or kazura-mono (woman-theme), the mai in a noh will

be different. In many ways, the melody and rhythm of

the flute in a mai are responsible for setting the tone.

Below is an introduction to the principle mai of noh.

Ch-no-mai (Medium tempo dance) The ch-no-mai is a medium tempo dance that can be said the other maiare modeled from. There are two

versions of the ch-no-mai: daisho-mono is just with the two hand drums and the flute and taiko-iri which utilizes all the instruments. In a genzai-noh a female character would generally perform

this mai. Yuya, Matsukaze and Koch are examples of noh which include the ch-no-mai.

Jo-no-mai (Slow tempo dance) An extremely slow-tempo dignified mai. Jo-no-mai can be performed with or without taiko. Types

of characters who dance this are: shirabyshi(traveling female dancers wearing male attire), traditional female dancers, ghosts of noblewomen, female spirit or deity. Hagoromo,

Izutsu andEguchi are noh that include the jo-no-mai.

Otoko-mai (lit. man dance) This is a fast tempo, lively, strong dance used for male characters living in the present and therefore

not wearing a mask, or perhaps to convey a celebratory feeling. Ataka, Kogo, and Kosodesoga are

noh which include the otoko-mai.

Kami-mai (lit. god dance) The kami-mai, is performed in waki-noh (first category) by male deities. It is an extremely fast

tempo dance performed with gallant dignity. The taiko is included in the this mai. Takasago,

Yr and Yumi Yawata are noh which include the kami-mai.

Gaku (lit. enjoyment) Drawn from the music and dance of the imperial court, gaku is used in noh which have a Chinese

theme and for noh in which an imperial musician is the shite. The dance starts slowly, but gradually

builds into a quick tempo, stately mai. This maiincludes taiko. Tenko, Kantan and Fujidaiko are

examples of noh which include gaku.

Kagura (lit. god enjoyment) Kagura is a dance performed by a female deity or a Shinto priestess. Its origins are said to be from

Shinto ritual dance and the flute plays a melody that was adapted from the kami-mai. Depending on

the school, the shite may hold a Shinto wand while dancing. The taiko is included in kagura. Miwa,

Makiginu and Tatsuta are examples of noh that include kagura.

Apart from the above examples other mai include banshiki-hayamai, kakko, ky-no-mai, and ha-no-mai. The mai-bataraki, in which a dragon, goblin or the like display its power; or

the kakeri, which displays the struggles of a tormented soul, while not considered as mai, are

still a kind of dance.

Depending on the heavy or light nature of the noh, one of these many mai are chosen to best

represent the beauty of the form and the freeness of the expression.

The Difference Between Mai and Dance

Generally speaking, in Japanese within the noh world, the expression noh wo odoru (to dance noh) or noh no odori (the dance of noh) is not used. Rather another word, mau or mai is used. It has the same translation, but the meaning is quite different. In

fact the word buy, also meaning dance, is a combination of the two characters mai and odori, but how really are the two words different, mai and odori. If you look in the dictionary, the

word odori somehow relates to dancing in rhythm, jumping, and using your hands and feet to

articulate. Mai on the other hand conjures images of sliding feet and going around.

From long ago the distinction between the two was made, but exactly when and where that

happened is unclear. There are indeed noh in which stomping to a rhythm and jumping are

used, but for some reason, the word mai has remained as the word used to describe the

movement in noh.

In addition Kagura, Imay, Rei, Ennen-no-mai, Kuse-mai, all stemming from ancient traditions used the word mai to describe the movement. It seems as if because of nohs connection with those older traditions, they have remained attached to the use of the word.

Within each noh there are a number of sections with names like kuse or kiri in which the

chorus and the musicians are playing together in rhythm while the shite dances. Of course noh

has given these sections their own name when performed only in traditional Japanese formal

attire. These excerpts are known as shimai when performed out of the context of a noh.

Each of these dances is made up of very detailed kata (movement patterns) strung together in

a fluid series. Some kataabstract, while others are clear gestures. It would be safe to say that

the performing of noh is made up of the composition of very small pieces.

Basic Kata (movement patterns)

Kata are the basic movement patterns of noh. Each kata is given a name and

that kata becomes an important fiber in the fabric of the art of noh.

The most basic kata from which all other movement is based is called kamae. This is the basic

posture for the noh performer. In the lower body, the knees are slightly bent, lowering the

center of gravity of the performer. In the upper body, the arms are slightly bent, elbows out,

making a kind of circle shape with the arms and in the right hand a fan is held.

The basic form of movement is called hakobi. While maintaining the same center of gravity as

in kamae, the feet are slid across the floor one after the other, without lifting them. In order to

change direction, for example to turn left, the right foot is hooked around the big toe of the

left. Then by twisting on the ball of the feet, one foot at a time, the feet will become even and

the turn is complete.

Shiori Sumidagawa River TOSHIRO MORITA

In order to express sadness or grief, thekata known as shiori is used. Forshiori, the head is

slightly bent down and with either one or two hands (depending on the severity of the grief)

the eyes are covered indicating the shedding or stifling of tears. Sashi is another kata in which

the hand holding the fan is brought back even with the body and then in an arcing motion is

put in front of the eyes essentially pointing off in the distance. Sashi can be used for pointing

up at the mountains or down at the sea and may coincide with the descriptive text being sung

by the chorus. While each kata is used to express a specific emotion of scene, the

same kata can be used at different times to express different things.

Noh performers take finely detailed kata and within the dance turn them into a series of

successive, fluid, emotive motions, that in turn give emotional expression to noh.

Shimai and Maibayashi

As mentioned previously, a shimai is a short dance section extracted from a whole noh. There

are a number of types ofshimai, including the principle sections of the kuse and kiri.

Shimai sections are generally used to describe either the location or the emotional state of

the shite.

A maibayashi similarly is an extracted section of a noh and contains at least

one shimai section in it. Whereas a shimai is performed with just a few chorus members

singing for the shite, a maibayashi includes musicians as well as a chorus.

Both shimai and maibayashi are performed not in full costume and mask, but simply in

Japanese traditional formal wear:montsuki (kimono adorned with a family crest)

and hakama (large silk pantaloons resembling a skirt). The shite will of course uses a fan, but

not a chukei, a fan used in a full noh performance. The person performing

as shite in shimai ormaibayashi uses a shizume fan.

The costumes used in noh are called noh shzoku.

A good example is the karaori, an exquisitely embroidered, traditional womans kimono. Certainly one of the most beautiful theatrical costumes in the world.

During the early stages of noh, around the time of Kannamiand Zeami, the costumes were

more modest, as they were using the their everyday clothes to perform in. However, as noh

became favorable in the eyes of the aristocracy and military ruling classes, they began to

receive more finely crafted kimono to perform and this gradually became the norm.

Furthermore during the Azuchi Momoyama period (approx. 1558-1600), the flourishing of

Japanese culture coupled with great advances in fine arts led to even higher standards for

costumes.

In this way, these costumes were truly works of art and quite separated from reality of the

character. For example, historically, a poor fisherman or a woman who gathers sea-salt would

not be adorned in such finery, but by using such stylized and symbolic costumes, noh is better

able to express a characters feelings.

Noh Costume Categories

Shzoku (noh costumes) can be divided into 7 different categories:

Kahatsu (things for head,

concerning hair) : kazura (wig),

Kaburi-mono (things worn on the head): eboshi (hat), tengan (headdress), etc.

Uwagi (various outer garments worn over kimono): nshi (imperial robe), kariginu (hunting

cloak), happi (festival

coat), chken (outer shawl), maiginu (dancing shawl),

etc.

Kitsuke (short sleeved kimono worn under outer kimono): surihaku, nuihaku, noshime, etc.

Uwagi / Kitsuke (outer kimono): karaori (exquisite womens kimono), atsuita (exquisite male kimono), etc.

Hakama (Japanese pleated loose-fitting trousers): kuchi (large warrior hakama), hangiri(lit. half-cut hakama), sashinuki, nagabakama (lit. long hakama),

etc.

Other small items like sashes used for tying things on: kazura-obi, koshi-obi, koshi-himo, etc.

Example of a Karaori

Karaori by Yamaguchi Yasujir Shigeyoshi Ohi

A karaori, is a fine example of an exquisite outer kimono used in noh to portray women

characters. Karaori means Chinese style fabric as it is said to be modeled after the Chinese Shokko brocade of the Ming period. This is a short sleeved kimono made using

the uki weaving technique employing gold, silver and other colored thread create gorgeous

flower patterns.

When a female character is introduced in noh and she is wearing a karaori, it is often times

worn in a style calledkinagashi. In this style, the upper part is folded in such a way as to leave

the neck open (for better viewing of under kimono) and the lower part is adjusted at the hem

to create a triangular shape around the legs which gives the impression of refinement.

Costume Stylizations

While noh costumes do not realistically represent the characters they are portraying, the costumes can tell the audience a lot about the character. As there are a number of set rules in

noh regarding combinations of costume pieces, if one knows enough about these

combinations, one can accurately tell the gender, age, social status, occupation and personality

of that character.

A simple example of this is the notion of color in a noh costume. In female costumes, if there is red in the costume it is said to be iroiri (lit. red in), if there is not, it is

called ironashi (lit. red nothing). Young women wear iroiri costumes, middle aged and older

wear ironashi. The red that appears may not necessarily only appear in the outer kimono, but

also in the sashes used to fasten the wig and/or the kimono to the performer.

Another example of indicating character through costume would be through the use of the

collar. The eri (collar) can be any number of colors including: white, light blue, red,

yellow/gold, dark blue or brown. Choosing how to arrange these colors around the neck gives the audience an idea of the characters social status or inner feelings. As white is the color of

purity in noh, if a character is wearing two layers of white collars, this would indicate their

being of the highest level of purity or top.

It is ultimately the decision of the shite as to what costume they would like to wear on stage.

So while there are rules that need to be followed, the shite still has great room for personal

expression in choosing the combination of shzoku for a noh.

The difference between Kygen Plays (hon-kyogen ) and Kygen Interludes (ai-kyogen)

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Being a stage art that share's noh's roots in sangaku, kygen has had deep links with noh since early times. The main difference between the two forms is thatkygen is connected with laughter, which is an emotional state not usually expressed in noh. Because sangaku was

characterized by comedy, one can say that it was kygen that inherited and carried on sangaku's original form.

Kygen apparently first emerged as an independent art form during the Warring States period (1467-1568), when it already began appearing on performance programs alongside noh.

Broadly speaking, there are two kinds ofkygen: hon-kygen, which are discreet plays

performed between noh plays; and ai-kygen, or simply ai, which is performed during the interludes within noh plays an is thus integral to the noh plays themselves. The term "kygen" used by itself usually refers to hon-kygen. Hon-kygen generally involve two or three actors who lead the audience to gentle laughter through dialogue performed in a conversational style,

and through carefully honed gestures. In most cases, ai-kygen are performed by a single actor, who performs the important role of facilitating the smooth progression of the story of

the noh play in which he appears, and deepening audience understanding.

The Meaning of the Word, "Kygen"

As used today, the word "kygen" refers to the comedic stage art being discussed here. This has not always been the case, however. The roots of the term lie in China, where it was used

to indicate either a joke or something divorced from reason or normal convention. In the

Manyoshu, an 8th century collection of Japanese poetry, the Chinese characters for "kygen" were read "tawagoto", which means "silly talk." Thus the term was familiar to the Japanese

for many centuries before it began to be used in connection with the stage art.

During the Heian period (794-1185), the phrase "wild words and fancy language," which

appeared in the writings of the Tang poet Bai Juyi, was included in the Wakan

Roeishu ("Collection of Chinese and Japanese Poems for Singing"). The "wild words" referred

to in this phrase are a translation of the term "kygen." Subsequently, the term was used to condemn stories and utterances that, from a Buddhist perspective, were false or full of empty

ostentation. Gradually, the term that had been disseminated as meaning nonsense, a joke, or

something divorced from common sense took on the meaning of "comical," ultimately coming

to refer to the stage art of kygen.

The Origin and Development of the Comic Art of Kygen

Sangaku, which entered Japan from China during the Nara period (710-784), was a popular

entertainment that included such elements as comedy, mime, acrobatics, juggling and magic.

During the Heian period, sangaku came to be called "sarugaku," with an increased emphasis

on comic elements. The main thrust of the art came to focus on the comical trials of country

bumpkins who find themselves at a loss in the capital. Noh developed and changed

significantly through the addition of song and dance and a shift in emphasis to the aesthetic of

yugen, while kygen continued the sarugaku tradition of comedy.

Although the origins of kygen are unclear in many respects, kygen actors called okashi first appeared in historical records in the middle of the 14th century. Zeami himself referred

to kygen actors as okashi, and it's recorded that they belonged to performance troupes and performed in alternation with noh actors.

It appears that the kygen of Zeami's time was primarily a rather vulgar, improvisational art with a fair amount of sexual innuendo. As the years passed, however, it gradually became

refined into a regular repertory, with script books first appearing sometime in the second half

of the 16th century. After a fluid period during which there was ample interaction among

various actor groups, two schools in particular won support from the shgunate in the Edo period (1603-1867): the kura and Sagi schools. A third group, the Izumi school, had the support of the Owari Tokugawa clan and was active primarily in Kyoto, Owari, and Kaga.

Once it became a performance art of the shgunate, kygen lost much of its improvisational

character and began to focus instead on stylistic beauty.

Like noh, kygen temporarily declined drastically with the Meiji Restoration of 1867, bringing about the unfortunate demise of the Sagi school. The Izumi and kura schools recovered, however, and have continued their traditions down to the present day. Thanks to the highly

motivated efforts of kygen actors after World War II, their art is currently enjoying quite a boom in popularity. All-kygen programs are now often presented not only on noh stages but in civic halls and other venues. Just as the mainstream sangaku did in its own

day, kygen today has generated considerable power as a well-loved stage art of the people.

Expression in Kygen

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Kygen speech is based on the ordinary speech of Muromachi-era (1336-1573) Japan. It consists of broad dialogue accompanied by mimetic, sometimes exaggerated movement that is

very finely controlled. The usual goal of kygen is to inspire laughter. Zeami urged kygenactors to avoid vulgar and crude material in favor of a lighter, gentler fun. To achieve the laughter worthy of the term "mad words," kygen is characterized by a refinement that avoids sarcasm and tends to integrate two elements: rhythmical language and movement,

and a depth of characterization and story.

Kygen's range extends beyond simple laughter, however. It has a depth of feeling that can also portray sorrow, sympathy and nostalgia; deliver pointed satire; and explore philosophical

questions regarding human sexuality. Sharing the same formal beauty as

noh, kygen historically incorporates other performance arts such as dengaku and kusemai as well as popular song, resulting in a great richness of expression.

The Content and Classification of Kygen Plays

There are about 260 kygen plays in the combined repertories of the kura and Izumischools. A wide variety of characters appear in these stories of everyday life, ready to inspire laughter

through the use of skit-like structures. In Kji, for example, the protagonist is a servant who

eats his master's tangerines and makes humorous excuses to avoid punishment. In Inabad, the hen-pecked husband of a sake-loving wife seeks escape from his miserable marriage;

inUtsubozaru, a monkey trainer pleads with a feudal lord to spare the life of his young

monkey, which the lord wants to kill in order to make a quiver; in Inomoji and other plays,

men express their desire to find wives; in Kakiyamabushi, a mountain priest steals and eats a

farmer's persimmons; in Hagi Daimy, a rustic feudal lord goes out on a sightseeing tour; in Shron, two priests belonging to different Buddhist sects meet on the road and fall into a doctrinal dispute; InTsurigitsune, an old fox who has lost all of his relatives to a hunter's trap

assumes human form to try to convince the hunter to stop killing; and in Kazum, the spirit of a mosquito appears as a sumo wrestler in order to find a fresh supply of blood. This is just a

small sample of the many characters that can appear in kygen. Each tale is skillfully told through finely honed words, movement and gestures to create a fascinating and funny

theatrical experience. Most plays involve two or three actors and last 15 to 20 minutes, but

there are also ambitious pieces that last more than 40 minutes, as well as some that involve ten

or more characters.

The repertory can be divided roughly into the following categories, depending on main

character and content.

God of

Fortune Kygen plays in which the God of Fortune bestows good fortune.

Farmer Kygen plays about farmers pay their taxes. Feudal Lord Kygen Plays that feature daimyo feudal lords. Minor Lord Kygen Plays about the servant Taro Kaja. Son-in-Law Kygen Plays in which a son-in-law does various things related to his

wedding.

Woman Kygen Plays that feature often strong-willed women in the main role.

Demon Kygen Humorous depictions of demons or of Emma, the King of Hell.

Priest Kygen Plays in which priests become the object of ridicule. Mountain

Priest Kygen Plays about mountain priests with imperfect magical powers.

Blindman Kygen Plays featuring blind masseurs and similar characters. Dance Kygen Plays that have a noh structure and are parodies of noh

plays.

Miscellaneous Kygen Plays that don't fit into any other category, often with animal protagonists.

Ai-kygen Interludes

As noted above, ai-kygen are kygen interludes within noh plays. They perform a crucial role in advancing the story, and are generally found in two types: katariai (storytelling interlude)

and ashiraiai (interactive interlude).

The most typical storytelling interlude is the igatari, or "sitting story." This is often used in

two-part mugen (phantasmal) noh and other noh in which the shite exits after the first half.

Usually, the kygen actor plays a local person who presents the essence of the noh's story through an extended monologue delivered while sitting on his knees in the center of the stage.

The story is cast in language that is relatively easy to understand, and often includes episodes

or background material that is not mentioned in the noh proper, thus helping the audience

achieve a deeper understanding of the story while setting the scene for the reappearance of

the shite in the second half. Other types of ai-kygen that fall into the storytelling category include masshaai (branch shrine interlude), in which the god of a small local shrine enters to

the accompaniment of hayashi music; hayauchiai (fast beat interlude), in which the performer

enters quickly to the rapid beat of a drum accompaniment called hayatsuzumi (rapid drums);

and gekiai (dramatic interlude), in which several kygenperformers appear together and perform a dance or skit.

Interactive interludes are often found in genzai (real world) noh, in which

the kygen performer helps to advance the story by interacting directly with the waki and shite. In the play Dj-ji, for example, the kygen actors play temple acolytes who admit the shite, a dancing girl, into the temple precincts despite orders not to let any

women on the grounds. InKurozuka (also known as Adachigahara), the kygen actor is a member of a priestly entourage who, despite repeated admonitions not to do so by the head

priest, peaks into the bedroom of the woman hosting them, discovers her true nature as a man-

eating demon, and sounds the alarm enabling all to escape. Interactive interludes are thus

often used to develop large scenes. Sometimes, however, they also appear at the beginnings of

plays in a form called kuchiakeai (mouth opening interlude) to set the initial scene. An

example of this is found in the noh play Hanjo, in which the mistress of a brothel, played by

a kygen actor, expels one of the girls in her establishment because of her preoccupation with a lover who has left her behind.

Stamping Sanbas

There's one more important role for kygen actors that hasn't been mentioned yet: Sanbas, which is part of the ceremonial piece Okina. Okina, which is often called "the noh that isn't a

noh," celebrates the emperor's peaceful reign, the safety of the nation, and a bountiful harvest.

As such it holds a venerated position within the noh world as a petition to the gods.

The kygen actor carries a box containing the masks used in the performance, and dances the dance Sanbas, which is a prayer for blessing. (Depending on the shite school involved, the kygen actor may also play the role of a young man named Chitose [Thousand Years].)

Sanbas is the main role in the second half of Okina, after the old man Okina exits. The actor begins by dancing the momi no dan (rubbing section), after which he dons a black, old man's

mask and dances the suzu-no-dan (bell tree section). The choreography involves a great deal

of stamping, and there are also mimed movements that portray the sowing of fields. The actors

are thought to become gods as they perform their dances of supplication. Kygen performers use the verb "stamp," not "dance," to describe what they do when they perform Sanbas.

Noh Masks C a t a l o g u e

Noh is a type of masque, which is performed by actors with masks. There are sixty basic types

of Noh masks. It is said that today we have two hundred and some dozens different kinds of

Noh masks.

This type is only used for the piece called "Okina", performed in the New Year or for special occasions.

It is a kind of ritual items derived from sarugaku,

the classic form of the Noh, and it is said that this type was already used in the late Heian era (12th

Century). It predates any other types of the Noh

masks.

Masks portraying elder people are called J-men (J masks). They vary in the types including Ko-j, Asakura-j, Sanko-j, andWarai-j. They are distinguishable by their hair, and generally

worn by the leading actors in Part One in waki-

n (god plays) orshura-n (warrior plays), in which they play incarnate spirits.

Depending on roles' social positions or situations in

plays, performers choose masks from various types

of Otoko-men(Otoko masks), including Heida portraying

soldiers, Chj, Jroku,Hatachi-amari, Dji, andKasshiki.

Onna-men (Onna masks) is the most popular type

of the Noh masks that first comes into people's minds. There are a number of variations

including Ko-omote that portrays a young woman.

Depending on ages or characters of roles, the type

is broken into parts, such as Waka-onna, Shakumi, Uba, and Rjo.

This is assumed to have appeared in the early stage

of the history, describing supernatural substances

such as demons orTengu (long-nosed goblins). It is distinguishable by its forceful and wild appearance,

and roughly classified into two

types;Tobide portraying demons or savages,

and Beshimi portraying goblins such as Tengu.

This is the type that portrays incarnate spirits of dead persons. They include male ghosts such

as Ayakashi, Yase-otoko andKawazu, and female

ones such as Yamanba and Deigan. They are all

regretful and revengeful of this world. Hannya, one of the well-known type of the masks, is also

classified into this group.

OKINA

Name Hakushiki-j

Category Okina

Comment It is a synonym forOkina, and so named because it is painted white

(haku). There is another variationKokushiki-j, which is painted black

(koku). The lower jaw separated from and hinged to the face is a

distinguishing character of the type of Okina. Hakushiki-jwas born

before Noh in its original forms ofsarugaku or dengaku, and was used in

prayers and celebrations. It has a soft smile of the deity symbolising the

country and the world at peace, bountiful harvests, long lives, and

prosperity of the current and the future generations.

Plays Okina

Name Kokushiki-j

Category Okina

Comment It is also calledSanbas because it appears in the third piece of a

programme, and "the third" is translated to "Sanban" in Japanese. It has

been used in celebrations since the dawning of Noh assarugaku, and I

would say it is the first mask created in Japan. Although it has similar

appearance toHakushiki-j, including smiling eyes, swirling wrinkles on the

cheeks, and hinged lower jaw, the mask itself is a bit smaller and painted

black. It is the best choice for using in prayers for the country and the

world at pea