Noh Theatre

Principles of Noh Theatre

• Monomane imitation/mimesis

• Yugen: achieve a state of grace

• Rooted in Buddhist beliefs

• Concerned with human destiny and the supernatural

History of Noh

• Known as sarugaku until 17C

• Entertainment for shogunate (elite only)

• Performed in troupes

Kamakura period of Noh

• Formed Troupes

  • Enamani-za, Sakado-za, Tobi-za, Yuzaki-za

• These became the 4 schools of Noh

Later Noh Theatre

• Perfected in Muromachi period (1333-1568/73)

• Noh became solemn and longer during Edo period (1603-1868)

Noh Acting

• Years of dedication and intense training

• Women banned from stage in 1629

Kan’ami (1333-84

First head of Yuzaki (Kanze) troupe

Zeami (1363-1443)

Son of Kan’ami

Authorship & style

• Reworked over generations

• Collective authorship

• Tradition of quotation and allusion to poems from Japanese and Chinese classical poetry

• Around 240 plays

Shin-nan-jo-kyo-ki Noh

5-play performance style

Plays about 1. Gods 2. men 3. women 4. lunatics 5. demons

Genzai No

realistic noh

mugen no

dream noh

Two basic arts

• Song (chorus and actors)

• Dance (actors)

Three basic characters

• Old man: retiring from life; calm contemplation of earthly activity

• Warrior: aggressive and vigorous attitude

• Woman: attitude of harmony with the world, between old man and warrior

Shi-te kata

Main actor, plays many roles including children and accompanying actors, wears a mask

Wa-ki kata

Supporting actor, plays more religious/human roles (monks, priests), does not wear mask

Koken

Stage assistant

Jiutai

Chorus

Hayashi kata

musicians

Instruments

stick-drum (taiko), hip-drum (otsuzumi), shoulder-drum (kotsuzumi), flute (fue)

Vocal calls

kakegoe

Rythm

• Jo (intro): easy manner, composed tempo

• Ha (breaking): increased dramatic and musical energy

• Kyu (finish): high energy, quick tempo

Movements

• Kamae: basic posture

• Hakobi- sliding walk; feet don’t lift

Dances (mai)

• Jo-no-mai: slow tempo

• Chu-no-mai: medium tempo

• Otoko-mai: living male dance

• Kami-mai: god dance; extremely fast

Props

• Large props purpose-built and dismantled after

• Fans: color-coded and symbolic

• Costumes: outer and inner coats, wide-legged pants

Stage

• Hon butai: main stage

• Ancient pine image

• Four pillars

• Jiutai-za (chorus seat)

• Hashi gakari (bridge way)

• Kagami no ma (mirror room backstage)

• Floorboards made of hinoki cypress

• No curtain

Scenes

• Entrance of waki

• Entrance of shite

• Dialogue between waki and shite

• Kyogen

• Shigoto: shite’s performance of their story

• Withdrawal of shite