Noh

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Noh
Noh3.jpg
Noh performance Itsukushima Shrine
Medium: Dance-drama
Culture Japan
Era 14th century to present

Noh (能, derived from the Sino-Japanese word for "skill" or "talent") is a major form of classical Japanese dance-drama that has been performed since the 14th century. It is the oldest major theater art that is still regularly performed today. Noh is often based on tales from traditional literature featuring a supernatural being transformed into a human hero who narrates the story. Noh integrates masks, costumes, and various props in a dance-based performance that requires highly trained actors and musicians. Stylized conventional gestures primarily convey emotions, while the iconic masks represent specific roles, such as ghosts, women, deities, and demons. Having a strong emphasis on tradition rather than innovation, Noh is highly codified and regulated by the iemoto system.

Although Noh and nōgaku are sometimes used interchangeably, nōgaku encompasses both Noh and kyōgen. Traditionally, a complete nōgaku program included several Noh plays with comedic kyōgen plays in between; an abbreviated program of two Noh plays with one kyōgen piece has become common today.

History

Origins

The kanji for Noh (能) means "skill", "craft", or "talent", particularly in the field of performing arts in this context. The word Noh may be used alone or with gaku (楽; entertainment, music) to form the word nōgaku. Noh is a classical tradition that is highly valued by many today. When used alone, Noh refers to the historical genre of theatre that originated from sarugaku in the mid 14th century and continues to be performed today.

One of the oldest forerunners of Noh and kyōgen is sangaku [ja], which was introduced to Japan from China in the 8th century. At the time, the term sangaku referred to various types of performances featuring acrobats, song and dance, as well as comic sketches. Its subsequent adaptation to Japanese society led to its assimilation of other traditional art forms." Various performing art elements in sangaku as well as elements of dengaku (rural celebrations performed in connection with rice planting), sarugaku (popular entertainment including acrobatics, juggling, and pantomime), shirabyōshi (traditional dances performed by female dancers in the Imperial Court in the 12th century), gagaku (music and dance performed in the Imperial Court beginning in the 7th century), and kagura (ancient Shinto dances in folk tales) evolved into Noh and kyōgen.

Studies on the genealogy of the Noh actors in the 14th century indicate they were members of families specializing in the performing arts. According to legend, the Konparu School, considered the oldest tradition of Noh, was founded by Hata no Kawakatsu in the 6th century. However, the founder of the Konparu school, which is widely accepted among historians, was Bishaō Gon no Kami (Komparu Gonnokami) during the Nanboku-chō period in the 14th century. According to the genealogical chart of the Konparu school, Bishaō Gon no Kami is a descendant of 53 generations of Hata no Kawakatsu. The Konparu school was descended from the sarugaku troupe which had played active roles in Kasuga-taisha and Kofuku-ji in Yamato Province.

Another theory, by Shinhachirō Matsumoto, suggests Noh originated from outcastes struggling to claim higher social status by catering to those in power, namely the new ruling samurai class of the time. The transfer of the shogunate from Kamakura to Kyoto at the beginning of the Muromachi period marked the increasing power of the samurai class. It strengthened the relationship between the shogunate and the court. As Noh became the shōgun's favorite art form, Noh was able to become a courtly art form through this newly formed relationship. In the 14th century, with strong support and patronage from shōgun Ashikaga Yoshimitsu, Zeami established Noh as the most prominent theatre art form of the time.

The establishment of Noh by Kan'ami and Zeami

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Wikipedia article: Zeami Motokiyo and Kan'ami@wk

In the 14th century, during the Muromachi period (1336 to 1573), Kan'ami Kiyotsugu and his son Zeami Motokiyo reinterpreted various traditional performing arts and completed Noh in a significantly different form from the traditional one, essentially bringing Noh to the present form. Kan'ami was a renowned actor with great versatility playing roles from graceful women and 12-year-old boys to strong men. When Kan'ami first presented his work to the 17-year-old Ashikaga Yoshimitsu, Zeami was a child actor in his play, around age 12. Yoshimitsu fell in love with Zeami and his position of favor at court caused Noh to be performed frequently for Yoshimitsu thereafter.

Konparu Zenchiku, the great-grandson of Bishaō Gon no Kami, the founder of the Konparu school and the husband of Zeami's daughter, incorporated elements of waka (poetry) into Zeami's Noh and further developed it.

By this period, among the five major schools of Noh, four were established:

the Kanze school, established by Kan'ami and Zeami;
the Hōshō school established by Kan'ami's eldest brother;
the Konparu school; and
the Kongō school.

All of these schools were descendants of the sarugaku troupe from Yamato Province. The Ashikaga Shogunate supported only the Kanze school among the four schools.

More information is available at [ Wikipedia:Noh ]


Overview of Noh Theater

Noh theater is a fascinating traditional Japanese performing art that dates back to the 14th century. It combines drama, music, and dance with performers wearing elaborate masks and costumes. The plays often explore themes of the supernatural, history, and emotions conveyed through slow, stylized movements and poetic language.

1. Origins and History

Noh theater originated in Japan during the 14th century, developed by Kan'ami and his son Zeami, who refined the art form under the patronage of the shogun Ashikaga Yoshimitsu. Rooted in earlier performance traditions like Sangaku and Dengaku, Noh became a highly stylized and spiritual form of theater, often associated with Zen Buddhism.

2. Performance Style

Noh is known for its slow, deliberate movements, minimalistic staging, and highly symbolic storytelling. Performers use subtle gestures and controlled body language to express emotions, as opposed to exaggerated expressions seen in other theater forms.

Chanting and music, provided by a chorus (jiutai) and instrumentalists playing flute (fue) and drums (taiko, ōtsuzumi, kotsuzumi), accompany the performance.

The language is poetic and archaic, making it difficult even for modern Japanese audiences to understand without study.

3. Masks (Noh-men) and Costumes

Masks are a defining feature of Noh, used to depict characters like spirits, gods, demons, and women. Each mask has subtle expressions that change with lighting and the actor’s movements. Elaborate costumes, often silk brocades, indicate the social status and role of the character.

4. Characters and Roles

Noh actors are traditionally male and perform specific roles:

  • Shite – The main character, often a supernatural being, historical figure, or noblewoman.
  • Waki – The secondary character, usually a traveler or monk who meets the shite.
  • Tsure – Supporting role, often a companion to the shite or waki.
  • Kyōgen – Comic character, sometimes appearing in short, humorous interludes between Noh plays.
5. Structure of a Noh Play

Noh plays follow a two-part structure:

  • First Act (Mae) – The waki encounters the shite in disguise, and they converse.
  • Second Act (Nochijite) – The shite reappears in its true form, often revealing its supernatural nature and performing a climactic dance (main).
6. Common Themes and Stories

Noh plays often explore:

  • Ghosts and spirits (mugen Noh) – The restless spirits of the dead seeking resolution.
  • Historical and warrior tales – Retelling stories of famous samurai and court figures.
  • Buddhist philosophy – Themes of impermanence and enlightenment.
7. Legacy and Influence

Noh remains an elite, highly traditional art form, still performed today.

It influenced later Japanese arts like Kabuki and Bunraku.

Western artists, such as playwright W.B. Yeats, found inspiration in Noh’s minimalism and spiritual depth.

External links

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