Professional Documents
Culture Documents
agemaku
(curtain)
kirido
(sliding door)
Minoru I (1828–1909) and by the patronage atoza (rear stage)
of the nobility. Since the end of World War wakiza or
jiutaiza
II, noh has had to depend entirely on the (side stage)
san no matsu
public for its survival. Noh today continues (third pine)
to be supported by a small but dedicated
group of theatergoers, and by a considerable ni no matsu
(second pine)
number of amateurs who pay for instruction kizahashi waki-bashira
ichi no matsu (steps) (subordinate
in noh singing and dancing techniques. (first pine) butai (main stage) actor’s pillar)
In recent years noh performed outdoors
at night by firelight (called takiginoh) has masks, which are often shown in museums The noh stage
become increasingly popular, and there and special exhibitions. The many mask
are many such performances held in the variations fall into several general types,
summer at Buddhist temples, Shinto shrines, such as young woman, old man, and demon,
and parks. and even among masks used for the same
role there are different levels of dignity (kurai)
Elements of a Noh which affect how the role and play as a
Performance whole are to be performed. Joy and sadness
can be expressed with the same mask
Stage through a slight change in the way shadows
The noh stage, which was originally fall across its features.
outdoors but is now usually located within Usually only the leading character (shite)
a larger structure, is itself a work of art. The wears a mask, though in some plays a mask
main stage, measuring six by six meters, is is also worn by accompanying characters
built of polished Japanese cypress (hinoki) (tsure). Subordinate characters (waki), their
and covered by a magnificent Shinto-style accompanying characters (wakizure), and
roof, and there is a bridge (hashigakari) that child characters (kokata) do not wear masks.
serves as a passageway to the stage. To the Along with its masks, noh is also known
right and rear of the main stage are areas for its boldly patterned extravagant
where the musicians and chorus sit. The costumes, which create a sharp contrast with
pine tree painted on the back wall serves as the bare stage and restrained movements. A
the only background for all plays, the setting shite costume with five layers and an outer
being established by the words of the actors garment of rich brocade creates an imposing
and chorus. figure on stage, an effect that is heightened
The three or four musicians (hayashikata) in some plays by the wearing of a brilliant
sit at the back of the stage and play the red or white wig.
flute, the small hand drum (kotsuzumi), the The ability of the shite and waki to express
large hand drum (otsuzumi), and, when the volumes with a gesture is enhanced by their
play requires it, the large floor drum (taiko). use of various hand properties, the most
The chorus ( jiutai), whose main role is to important of which is the folding fan (chukei).
sing the words and thoughts of the leading The fan can be used to represent an object,
character, sits at the right of the stage. such as a dagger or ladle, or an action, such
as beckoning or moon-viewing.
Masks, Roles, Costumes,
and Properties Program and Plays
Many people, both in Japan and abroad, A traditional noh program included five
who have little or no direct knowledge noh plays interspersed with three or four
of noh theater have nevertheless come kyogen, but a program today is more likely
into contact with noh through its famous to have two or three noh plays separated by
consists of the god plays (waki noh), in which vengeful female spirits.) It is Lady Rokujo,
the shite is first a human being and later a Genji’s neglected mistress. Speaking for
god. These plays, slow moving even by noh herself and through the chorus, Lady Rokujo
standards, are performed relatively seldom tells of the ephemeral nature of happiness
today. The second group is the warrior plays in this world, and of her resentment toward
(shura-mono). In most of these a dead warrior Lady Aoi as the wife of the radiant Genji.
from the losing side in the Taira-Minamoto (Lady Rokujo had been further humiliated
War pleads with a priest to pray for his when her carriage was pushed aside by that
soul. Wig plays (kazura-mono) represent the of Lady Aoi at a festival not long before.)
third group. These plays are often about a The spirit of Lady Rokujo moves forward
beautiful woman of the Heian period (794 – to strike Lady Aoi with her fan, and then
1185) who is obsessed by love. The fourth moves to the back of the stage. There,
group is the largest and is usually referred shielded from the audience by a robe held
to as “miscellaneous noh” (zatsu noh) because by attendants, the shite changes from the
plays on a variety of themes are included. deigan mask to the hannya female demon
The fifth and final group is the demon plays mask.
(kichiku-mono). In these plays, which tend The court official calls a messenger to
to be the fastest moving of all the groups, summon a Buddhist mountain ascetic (waki
the shite often appears in human form in role) to exorcise the spirit.
the first scene and then reveals himself as a After the exorcism rite begins, the shite
demon in the second scene. returns to center stage, now wearing the
demon mask and wielding a demon rod.
A Noh Play: Aoi no Ue They fight and the angry spirit of Lady
Rokujo is overcome by the ascetic’s prayers.
The play Aoi no Ue (Lady Aoi) is one of This triumph of Buddhist law and saving
the most frequently performed in the noh of Lady Aoi contrasts with The Tale of Genji;
repertoire. The original author of the play in the novel, Lady Aoi dies giving birth to
is unknown; it was revised by Zeami and is Genji’s son.
based on events in the 11th-century novel
The Tale of Genji, by Murasaki Shikibu. History of Kyogen
A s t h e p l a y o p e n s , a c o u r t o ff i c i a l
(wakizure role) explains that Lady Aoi, the Kyogen is thought to have its roots
pregnant wife of court noble Genji, is ill, in entertainment brought to Japan from
and the sorceress Teruhi has been called in China in the 8th century or earlier. This
an attempt to identify the spirit possessing entertainment evolved into sarugaku in the
her. A folded robe placed at the front of the following centuries, and by the early 14th
stage represents Lady Aoi. century there was a clear distinction among
are an integral part of the play itself, but it is Kyogen costumes are much simpler than
more usual for the kyogen role to serve as a
bridge between the first and second acts. In
the latter case, the kyogen player is on stage
alone and explains the story in colloquial
language. This gives the noh shite time to
change costumes, and, for uneducated
feudal-era audiences, it made the play easier
to understand.
In the current kyogen repertoire there
are about 260 independent plays. In the
most common classification system, these
are divided into the following groups:
waki kyogen (auspicious plays), daimyo
(feudal lord) plays, Taro-kaja plays (Taro- those used for noh and are based on the A noh performance at the
kaja is the name of the servant who is actual dress of medieval Japan. Most kyogen National Noh Theater in
Tokyo.
the main character), muko (son-in-law) do not use masks, although there are about © National Noh Theater
plays, onna (woman) plays, oni (devil) 50 plays where masks are used, usually for
plays, yamabushi (mountain ascetic) plays, non-human characters such as animals, gods,
shukke (Buddhist priest) plays, zato (blind and spirits. In contrast to the expressionless
man) plays, mai (dance) plays, and zatsu quality of noh characters, whether masked or
(miscellaneous) plays. With the exception of not, kyogen performers depend on exuberant
the miscellaneous group, the largest category facial expressions for comic effect.
of kyogen is that of the Taro-kaja plays.