Noh
Noh, also called Nogaku, is a theatrical art form that has been handed down through generations and been labeled one of the world's oldest performing arts. Noh is a comprehensive art form comprised of drama, music and dance elements. Noh itself can also be called a "mask drama" since it makes use of masks. Stemming from the forms of entertainment of 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. It would later influence other dramatic forms such as Kabuki and Butoh. During the Meiji era, although its governmental patronage was lost, Noh received official recognition as one of the national forms of Japanese drama.
Noh’s founder, Zeami, is one of the most important historical figures in Japanese theater. He has a collection of treatises on Noh called “Fūshi Kaden”, which was published some 200 years before Shakespeare’s theatrical debut. Even today, his treatises affect the lives of Japanese in unexpected ways.
Many Noh plays are taken from the Heike Monogatari (Tale of the Heike) and the Konjaku Monogatari (Tales of Long Ago), which are very popular stories from the Muromachi Period (1336-1573). Within these, Noh can be divided into two categories genzai 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.
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 for a temple ceremony or a festival. Takigi noh (fire light noh) still utilize open fields to perform in.
Noh has also been designated an “Intangible Cultural Heritage” by UNESCO. There are publicly owned venues like the National Noh Theatre, the Yokohama City Noh Theatre, and the Nagoya Noh theatre all over Japan.
Noh’s founder, Zeami, is one of the most important historical figures in Japanese theater. He has a collection of treatises on Noh called “Fūshi Kaden”, which was published some 200 years before Shakespeare’s theatrical debut. Even today, his treatises affect the lives of Japanese in unexpected ways.
Many Noh plays are taken from the Heike Monogatari (Tale of the Heike) and the Konjaku Monogatari (Tales of Long Ago), which are very popular stories from the Muromachi Period (1336-1573). Within these, Noh can be divided into two categories genzai 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.
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 for a temple ceremony or a festival. Takigi noh (fire light noh) still utilize open fields to perform in.
Noh has also been designated an “Intangible Cultural Heritage” by UNESCO. There are publicly owned venues like the National Noh Theatre, the Yokohama City Noh Theatre, and the Nagoya Noh theatre all over Japan.
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Roles
Shite: This is the main performer. 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 shite is 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. 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.
Waki: This is known as the “secondary role,” which is equally as important as the shite. The waki plays a variety or roles like a traveling priest or the former foe of the shite, but in a mugen noh there is one large difference. The waki is always a “living” character. In the mugen noh, it is generally that the shite is in some way afflicted and the waki is there to help the shite receive some kind of release.
Tachikata: They are the performers portraying characters on stage.; geishas
Shite Tsur: They are accompanying performers for the shite.
Waki Tsure: They are accompanying performers for the waki.
Tomo: This is the attendant to the shite's character.
Kokata: They are the children roles. 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.
Waki: This is known as the “secondary role,” which is equally as important as the shite. The waki plays a variety or roles like a traveling priest or the former foe of the shite, but in a mugen noh there is one large difference. The waki is always a “living” character. In the mugen noh, it is generally that the shite is in some way afflicted and the waki is there to help the shite receive some kind of release.
Tachikata: They are the performers portraying characters on stage.; geishas
Shite Tsur: They are accompanying performers for the shite.
Waki Tsure: They are accompanying performers for the waki.
Tomo: This is the attendant to the shite's character.
Kokata: They are the children roles. 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.
Types of Noh
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 kyōjo 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, Dōjō-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, Sesshōseki, Kurozuka/Adachihara, Shōjō.
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 kyōjo 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, Dōjō-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, Sesshōseki, Kurozuka/Adachihara, Shōjō.
Stage
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 Yōgō no matsu (The Yōgō 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 or kirido. 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, kyōgen, and hayashi. The kiridoguchi is located on the right side of the ato-za and is a small sliding door that is used for entrances and exits of the kōken (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 the shite puts on the mask being used for the noh. This is also where the hayashi play oshirabe (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 shōmen, while the seats on the left side of the stage are called the waki shōmen. Audience members sitting in the shōmen section have the best view of the mask effects, while the advantage of sitting in the waki shōmen is the close proximity to the hashigakari. In between the two are the naka shōmen 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.
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 Yōgō no matsu (The Yōgō 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 or kirido. 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, kyōgen, and hayashi. The kiridoguchi is located on the right side of the ato-za and is a small sliding door that is used for entrances and exits of the kōken (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 the shite puts on the mask being used for the noh. This is also where the hayashi play oshirabe (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 shōmen, while the seats on the left side of the stage are called the waki shōmen. Audience members sitting in the shōmen section have the best view of the mask effects, while the advantage of sitting in the waki shōmen is the close proximity to the hashigakari. In between the two are the naka shōmen 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.
Costumes
Noh utilizes a great variety of masks. 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, the Noh mask has a certain power inherent in it which makes it much more spiritual than a prop used to change ones appearance. 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.
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. 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.
Types of Masks:
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. 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.
Types of Masks:
Music
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. 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), ōtsuzumi (large hand drum aka ōkawa played at the hip) and taiko (stick drum) altogether they are also called shibyoshi. The traditional teaching method is one that is handed down from generation to generation.
The current schools are as follows:
Flute: Issō, Morita, Fujita
Kotsuzumi: Kanze, Ōkura, Kō, Kōsei
Ōtsuzumi: Kadono, Takayasu, Ōkura, 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 musician’s assistant sits behind them during a performance. The leader of the hayashi in performance is the taiko, however in noh in which the taiko is not appearing, daisho-mono, the ōtsuzumi 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.
The current schools are as follows:
Flute: Issō, Morita, Fujita
Kotsuzumi: Kanze, Ōkura, Kō, Kōsei
Ōtsuzumi: Kadono, Takayasu, Ōkura, 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 musician’s assistant sits behind them during a performance. The leader of the hayashi in performance is the taiko, however in noh in which the taiko is not appearing, daisho-mono, the ōtsuzumi 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.
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