Japanese Nogaku (noh) Theatre

Origins Theoreticals Founders Several theories explain the origin of noh The most plausible suggests that it was an attempt to for lower class artists to curry favor with the newly established Samurai ruling class It is undisputed that a father son team originated the form Zeami Motomasa (son) Zeami’s father was himself a revolutionary figure who paved the way for Zeami’s invention of noh theatre

Transmission A mostly genealogical tradition Father trains son No discrete techniques are practiced No scales, elocution, or physical arts A process of imitation and memorization Training begins in childhood Emphasis on discipline and control Artform is learned through practice of small sections of performance pieces

Typical Cast Waki (supporting actor) Shite (main actor) Kyogen (comedic actor) Flutists Shoulder drummers Hip drummers Stick drummers Chorus Casts are trained in schools specific to discipline 1500 active cast members 500 active performers

Unique Elements Noh plays have no director There are no rehearsals Actors have a deep understanding of each play and their part There are no rehearsals The element of chance is essential Chance creates tension Each performance is meant to be ephemeral Single characters dominate, but are often not characters so much as emotions in human form Language is often not grammatically correct Streams of imagery and allusions are used

Typical Program Okina (ceremonial opening) 5 noh plays 4 kyogen comedies Duration: 10 hours

Chorus Made up of 8 to 10 shite actors Do not represent characters Shift from 3rd person narration to the voice of the protagonist Do not wear masks

Musicians Enter first, leave last Are a critical part of the performance Posture and garments are heavily regulated by convention Musical accompaniment is very precise

Masks Used to convey a character’s Age Gender Social status Nature/demeanor Static and typical, but imbued with emotion by the actions of the actors Shite characters are masked unless they represent a normal, human individual Wakis never wear masks, but they keep their facial features static and emotionless

Mask Types ko-omote For young female characters Takes on a cheerful or sad expression as it is carefully raised or lowered

Mask Types Otobide Fierce deity mask Exaggerated expression comes to life most vividly when the head is moved quickly from left to right

Mask Types kishin Demon mask

Fans Fans are ubiquitous and are used to indicate the nature of a character

Props Stage props are simple frameworks that suggest the object

Costumes Costumes contain many symbolic elements provide the audience with clues and discrete information

Costume Detail