"Noh" - The Japanese Masked Theater

What is Noh?

Noh is Japan's oldest form of theater, established in the 14th century. 

Performers wearing impressive masks and beautiful costumes captivate the audience with unique movements set to elegant music. It's a recommended traditional art form where you can experience distinctly Japanese sensibilities and culture. 

The dialogue used in Noh is far removed from modern Japanese, making it difficult for Japanese people to understand. You can read this article to learn everything you need to know about Noh, from its fundamentals to elements such as masks, performers' roles, musical instruments, and representative plays,

so that even if you don't understand the dialogue, you can still enjoy the cultural background and essence of the theater.

 

Basic knowledge of Noh theater

To begin, we will briefly describe the characteristics and history of Noh, as well as the differences between Noh and Kyogen. Knowing these in advance might help you understand the story a little better when watching Noh for the first time.

Characteristics of Noh

1. The main character and their attendants wear masks.
2. The costumes are elaborate.
3. It is performed on a specialized Noh stage.
4. It is a musical drama centered on singing, dancing and instrumental performances.
5. Many mystical characters such as gods, demons, and spirits often appear.
6. The actors' movements are unique.
7. There are no large stage sets, and props are minimal.
8. The chorus and musicians are on the same stage as the actors.
9. It is broadly classified into two types: "Genzai Noh" set in the real world and "Mugen Noh" featuring ghosts as the main characters.

History of Noh

Noh has its roots in a performing art called "Sangaku," which was introduced from China in the 8th century and included various entertainments such as acrobatics and magic.

As the content of Sangaku changed over time, a performing art called "Sarugaku," which mainly featured comic skits, was born. 

By the end of the 13th century, groups specializing in Sarugaku were formed, and stories were added, creating the prototype of Noh.

In addition, "Dengaku," which evolved from agricultural events such as rice planting, became popular and contributed to the prototype of Noh. 

 

In the mid-14th century, Noh was perfected by the genius father-son duo of Kan'ami and Zeami. They were favored by Shogun Ashikaga Yoshimitsu* of the time and left many masterpieces that remain to this day.

Since then, Noh has been passed down for hundreds of years with the support of those in power. Noh also became popular among common people, and in rural villages, Noh performances were sometimes dedicated to pray for rain. 

After overcoming the crisis of extinction during the Meiji Restoration*, Noh was registered as a UNESCO Intangible Cultural Heritage in 2001.

* Ashikaga Yoshimitsu: The third shogun of the Muromachi shogunate (in office 1368-1394)

* Meiji Restoration: A series of social and political reforms to modernize Japan in the early Meiji period (late 19th century)

 

Differences between Noh and Kyogen

People unfamiliar with Noh and Kyogen might not be able to distinguish between them because both are performed on Noh stages. There are, however, some differences between them, such as the following:

	Noh	Kyogen
Theme	Characters from classical literature, tragedy	Daily life of common people, comedy
Costume	Noh masks, elaborate costumes	No masks, simple costumes
Dialog	Formal literary style	Familiar colloquial style
Expression	Singing, dancing, instrumental performance	Witty conversation

*These are general tendencies, and there are exceptions.

 

 

Main elements of Noh

We will briefly explain the main elements of Noh: masks and costumes, music, and styled movements. These have been developed uniquely, creating the world of "yugen" that Zeami sought.

These have developed uniquely and create the world of "yugen" that Zeami pursued.

 

Symbolic masks and costumes

1. Noh masks Masks are the most important props for Noh, which is a masked theater. The design of Noh masks has a strong impact. 

Even people unfamiliar with Noh may have seen masks like "Ko-omote" or "Hannya*" in books or media. The representative Noh mask "Ko-omote" is widely used for young female roles.

Although it appears to have no expression, a rich range of expressions can be created just by the performer slightly tilting the mask up or down. Besides these, there are Noh masks with intense expressions and masks used only for specific plays.

* Hannya: A demon woman's Noh mask with a terrifying appearance, featuring two horns and a widely split mouth.

 

2. Costumes Noh costumes are the stage costumes used in Noh. The coordination differs for each role. They express gorgeous designs with colorful and flashy patterns, intricate embroidery, and gold and silver foil.

 

Musical accompaniment

In Noh, the group of musicians responsible for musical accompaniment is called "Hayashi-kata." Along with the chorus called "Ji-utai," they play an important role in creating the atmosphere of the work. 

The instruments used in Noh include the "flute," "ko-tsuzumi," and "o-tsuzumi," sometimes with the addition of a "taiko drum."

Except for the flute, they are all percussion instruments, and when played, the musicians use "kakegoe" (vocalizations). These vocalizations allow the performers to communicate and unify the rhythm.

 

Stylized movements

Noh acting involves stylized movements (shosa). 

The basic posture (kamae) involves putting strength in the waist and pulling in the chin, while movement (hakobi) is done by keeping the soles of the feet on the floor and not lifting the heels when walking. 

Various patterns are added on top of this kamae and hakobi. The basic patterns of Noh are derived from realistic imitations with unnecessary movements removed. This allows even slight actions like changing body direction or lifting the mask to have a remarkable effect on the Noh stage.

 

 

Roles of Noh performers 

There are several role divisions among Noh performers.

Here, I'll explain the particularly important roles in performing Noh: "Shite," "Waki," "Tsure," "Ji-utai," and "Kokata."

 

Shite (Main character) 

"Shite" is the main character in Noh. 

Noh is centered around the Shite, and most of the impressive masks, elaborate costumes, and attractive dances are for the Shite. 

The Shite plays the role of a ghost from classical literature, a spirit from plants or trees, a tengu (long-nosed goblin), or a demon or other supernatural creature in "Mugen Noh."

 In the "Genzai Noh" genre, the Shite plays a human in the real world.

 

Waki 

"Waki" is the role that interacts with the main character Shite and draws out the Shite's performance. 

They are usually adult males living in the real world, often playing the role of a monk. They don't wear masks and, unlike the Shite, don't show much notable activity. 

Their role is to meet the Shite while traveling and draw out various information.

 

Tsure 

"Tsure" are characters who appear accompanying the Shite and sometimes play important roles. 

Characters who appear accompanying the Waki are called "Waki-zure." 

In some plays, neither Tsure nor Waki-zure appear.

 

Ji-utai (Chorus) 

"Ji-utai" typically consists of 8 members who sit in a designated area (Ji-utai-za) and provide background vocals. 

They sing descriptions of the characters' psychology, scenery, and events to the music. Sometimes they even sing lines on behalf of the Shite, Waki, and others.

 

Kokata 

"Kokata" are child actors in Noh. 

Basically, children play children's roles, but sometimes children also play adult roles. The purpose is to highlight the Shite or to increase the sense of pathos or sacredness.

 

 

Instruments used in Noh

 

The main instruments used in Noh are the "flute," "ko-tsuzumi," and "o-tsuzumi," with taiko drums sometimes used as well. These performers are called "Hayashi-kata."

The ko-tsuzumi and o-tsuzumi are played while making vocalizations. These vocalizations create a mood that matches the content and scene.

 

Flute 

The "flute" used in Noh is a transverse flute called "nohkan." 

It's the only instrument that plays melodies, but it's not tuned like Western instruments. The playing style changes according to the scene, adding a unique atmosphere to the stage.

 

Ko-tsuzumi 

The "ko-tsuzumi" is a small drum with a skin diameter of about 20 cm and is a percussion instrument. 

It's placed on the right shoulder and struck with the right hand. It can produce various sounds depending on how it's played, and its energetic vocalizations and lively beats create a pleasant rhythm.

 

O-tsuzumi 

The "o-tsuzumi" is a drum slightly larger than the ko-tsuzumi and is also a percussion instrument. 

It's placed on the left knee and struck with the right hand wearing a "yubikawa" (finger leather). 

It can't produce as many subtle differences in tone as the ko-tsuzumi and is differentiated by the strength of the strikes. Its energetic vocalizations and intense beats create a pleasant rhythm. 

When there's no taiko drum, the o-tsuzumi controls the progression of the music.

 

 

Representative plays

Source: 能「井筒」を終えて｜観世流能楽師林本大「大の会」

Currently, there are about 240 Noh plays, of which about 120 are frequently performed. Many of these are based on very famous Japanese classical literature works such as "The Tale of Genji," "The Tales of Ise," and "The Tale of the Heike."

Here, I'll introduce some of these plays. According to their performance order, Noh plays are divided into five categories.

The following are the general characteristics of each:

First category	Plays featuring gods as main characters
Second category	Plays featuring warriors as main characters, heroic in nature
Third category	Elegant and beautiful plays
Fourth category	Plays that don't fit into the other four categories
Fifth category	Plays featuring non-human characters

The Tale of Genji

"The Tale of Genji" is Japan's oldest full-length novel, written by Murasaki Shikibu in the early 11th century. It depicts the brilliant love affairs centered around the protagonist Hikaru Genji, and has fans all over the world. 

Examples of plays based on The Tale of Genji include the following. Many are elegant plays featuring female ghosts as the main characters.

Play Title	Category	Shite (Main Character)
Hajitomi	Three	Yugao
Yugao	Three	Yugao
Aoi no Ue	Four	Rokujo no Miyasudokoro
Nonomiya	Three	Rokujo no Miyasudokoro
Sumagenji	Five	Hikaru Genji
Sumiyoshimouda	Three	Akashi no Ue
Tamakazura	Four	Tamakaura
Ochiba	Three	Rakuyo no Miya
Ukihune	Four	Ukihune

The Tales of Ise

"The Tales of Ise" is a collection of poems and associated stories by an unknown author, believed to have been written around the 9th to 10th centuries. 

The protagonist is modeled after Ariwara no Narihira, a real aristocrat. The work describes this man's life full of love affairs, featuring many waka poems and developing the story like a musical. 

Examples of plays based on The Tales of Ise include the following. 

"Unrin'in" and "Oshio" are rare plays where the male protagonist performs the elegant "Jo no Mai*."

Also, "Izutsu" is considered Zeami's masterpiece and one of the greatest works of Noh.

Play Title	Category	Shite (Main Character)
Izutsu	Three	Daughter of Ki no Aritsune
Kakitsubata	Three	The Spirit of Iris
Sumida River	Four	Mother of Umenokomaru
Unrin-in Temple	Three/Four	Ariwara no Narihira
Oshio	Three	Ariwara no Narihira

* Jo no Mai: A type of very quiet, elegant dance in Noh

 

The Tale of the Heike 

"The Tale of Heike" is a war chronicle by an unknown author, believed to have been written in the first half of the 13th century. It describes on a grand scale how the Heike* clan rose to glory and then fell. 

Examples of plays based on The Tale of the Heike include the following. Many are heroic plays featuring the ghosts of warriors as the main characters.

 

Play Title	Category	Shite (Main Character)
Yashima	Two	Minamoto no Yoshitsune
Atsumori	Two	Taira no Atsumori
Kiyotsune	Two	Taira no Kiyomori
Tadanori	Two	Taira no Tadanobu
Hunabenkei	Five	Shizuka Gozen, Taira no Tomomori
Yuya	Three	Kumano

* Heike: The clan of Taira no Kiyomori, who held power in the late Heian period (late 12th century)

 

 

Summary

In this article, we introduced the Japanese classical performing art of Noh.

Noh was perfected by Kan'ami and Zeami in the 14th century and has been passed down for hundreds of years. Many plays are based on classical literature such as "The Tale of Genji," "The Tales of Ise," and "The Tale of the Heike," with stories unfolding through song, dance, and instrumental performances. 

The most important prop, the Noh mask, appears expressionless but can show rich expressions just by the performer slightly tilting it up or down.

There are various roles such as "Shite" as the main character, "Waki" as the supporting role, and "Ji-utai" as the chorus, while the acoustics of "flute," "ko-tsuzumi," "o-tsuzumi," and "vocalizations" each play important roles. 

While Noh might seem "difficult to understand and enjoy" at first glance, we hope you'll use what you've learned in this article to watch and freely enjoy it casually. We hope you step into the world of Noh at least once.