1. Japanese Theater

2. There are three main types of theater in Japan
Noh, Kabuki, and Bunraku

3. Noh theater is “a noble and religious form of theatre”
Noh theater is “a noble and religious form of theatre”. It derives from the old religious dances performed outside temples.

4. The most ancient is the theater of Noh
The most ancient is the theater of Noh. –this is a major form of classical Japanese musical drama that has been performed since the 14th century.  Noh performers are simply storytellers who only use their visual appearances and their movements to suggest the essence of their tale rather than to enact it. They use little to no set, no backdrop, no props. One must use their imagination to understand what is going on. The plot itself might be a bit vague.

5. Noh developed into its present form during the 14th and 15th centuries and flourished under the patronage of military leaders of feudal Japan before the societal reforms of the Meiji period (1868–1912) eliminatedNoh's government patronage. Although Noh nearly died out, enough performers regrouped, found private sponsors, and began teaching the art to amateurs so that it slowly began to flourish again.

6. Instrumentalist;
Instrumentalists known as hayashi sit at the back of the stage. They consist of a transverse flute (nohkan), an hourglass-shaped drum held at the shoulder (kotsuzumi), a slightly larger hourglass-shaped drum placed on the lap (okawa or otsuzumi), and a barrel-shaped drum placed on a small floor stand and played with two sticks (taiko). The rhythms and melody of these instruments follow highly prescribed systems. One particularly unique feature is the use of drum calls (kakegoe), the shouts or cries of the drummers which serve as signals between the drummers as well as between the drummers and singers. These drum calls also add an important element to the sound texture of the performance.

8. Make up is not used in Noh
Make up is not used in Noh. Rather, delicately carved masks are usually used by the shite main character and/or the tsure attend-ant. These masks are considered objects of superb beauty as well as powerful means of expression. Any character being portrayed which is not a middle aged man living in the present will wear a mask. There-fore all characters portraying women and old men wear masks as well as supernatural beings such as ghosts, deities, demons, and divine beasts. In general, masks either have a more or less neutral express-ion or portray a very strong emotion. The former in fact allows the mask a variety of expression with the play of light and shadow on it as the actor changes slightly the tilt of the mask. Even in roles in which an actor does not wear a mask, the sense of a masked face is evident. This is called hitamen, literally a direct mask." For this, the actor does not use his face for realistic expression but rather for mask-like expression.

9. Female Masks
Ko-omote
Hannya

10. Male Masks
Chujo
Kojo

11. O tobide (demon)

12. Costumes
Costumes in Noh are elaborately made with gorgeously dyed silk. These costumes reveal the type of character being portrayed and follow prescribed conventions as to their use. Still, there is much variety. The detail of design, the color combinations, the rich-ness of texture, and the strength of form give noh its visual impact. All characters, whether rich or poor, young or old, male or female, are all beautifully costumed. The costuming process is complex. Rather than the actor putting on his own costume, two or three costumers are needed to sculpt the costume on the actor.

13. Noh Costumes

14. Noh Costumes

15. Space and Time
In general, the use of space and time is not portrayed realistically. Rather, there is a freedom of portrayal which requires the audience members to use their imaginations. Characters take only a few steps and through their song or that of the chorus, the audience knows that they have travelled a great distance. Two characters may appear on the stage nearly side by side but again the audience comes to understand that they are not yet in each other's presence. While this may be confusing for the first time viewer, for many people who come to understand these and other conventions, Noh creates a much more powerful theatre than realistic theatre.

16. Both Buddhist and Shinto doctrine are reflected in the Noh plays
Both Buddhist and Shinto doctrine are reflected in the Noh plays. The Noh stage reflects Shinto temple architecture, and the stories told in Noh plays rely heavily on the Buddhist beliefs.

17. Conventions of the Noh Play --The Five Types of Noh Plays: 1
Conventions of the Noh Play --The Five Types of Noh Plays: 1. The god play (Kami)—congratulatory piece praising the gods in a quiet, dignified tone. 2. The warrior play (Shura)—a slain warrior comes back as a ghost and relives his suffering 3. The woman play (Katsura)—an elegant, stylish woman is the protagonist 4. The mad woman (or madness) play/realistic play 5. The supernatural (or demon) play (Kiri)—a battle between a demon or other supernatural figure and a hero in which the demon is usually subdued.

18. The Order of Performance 1. Okina-Sanbaso—a ritual piece 2
The Order of Performance 1. Okina-Sanbaso—a ritual piece 2. The god play (Noh) 3. A Kyogen play 4. The warrior play (Noh) 5. A Kyogen play 6. The woman play (Noh) 7. A Kyogen play 8. The mad play (Noh) 9. A Kyogen play 10. The demon play

19. movements
* Not a performance of realistic theatre; its movement is highly stylized and prescribed.
* Relies heavily on exaggerated gestures, some of which have specific meaning, while others serve as an abstract aesthetic expression to convey the emotions of the main character.
* In general, deliberateness, brevity, suppression and abstraction are important features of Noh movement.

20. Noh Movement