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    By using masks, actors are able to convey emotions in a more controlled manner through movements and body language. Some masks utilize lighting effect to convey different emotions through slight tilting of the head.

    Facing slightly upward, or "brightening" the mask, will let the mask to capture more light, revealing more features that appear laughing or smiling.

    Facing downward, or "clouding" it, will cause the mask to appear sad or mad. Noh masks are treasured by Noh families and institution, and the powerful Noh schools hold the oldest and most valuable Noh masks in their private collections, rarely seen by the public.

    The most ancient mask is supposedly kept as a hidden treasure by the oldest school, the Konparu. The traditional Noh stage butai has complete openness that provides a shared experience between the performers and the audience throughout the performance.

    Without any proscenium or curtains to obstruct the view, the audience sees each actor even during the moments before they enter and after they exit the central "stage" honbutai , "main stage".

    The theatre itself is considered symbolic and treated with reverence both by the performers and the audience. One of the most recognizable characteristic of Noh stage is its independent roof that hangs over the stage even in indoor theatres.

    Supported by four columns, the roof symbolizes the sanctity of the stage, with its architectural design derived from the worship pavilion haiden or sacred dance pavilion kagura-den of Shinto shrines.

    The roof also unifies the theatre space and defines the stage as an architectural entity. The pillars supporting the roof are named shitebashira principal character's pillar , metsukebashira gazing pillar , wakibashira secondary character's pillar , and fuebashira flute pillar , clockwise from upstage right respectively.

    Each pillar is associated with the performers and their actions. The stage is made entirely of unfinished hinoki , Japanese cypress, with almost no decorative elements.

    Neither is there a curtain. There is only a simple panel kagami-ita with a painting of a green pine tree.

    This creates the impression that anything that could provide any shading has been banished. To break such monotony and make something happen is no easy thing.

    Another unique feature of the stage is the hashigakari , a narrow bridge at upstage right used by actors to enter the stage. Hashigakari means "suspension bridge", signifying something aerial that connects two separate worlds on a same level.

    The bridge symbolizes the mythic nature of Noh plays in which otherworldly ghosts and spirits frequently appear. In contrast, hanamichi in Kabuki theatres is literally a path michi that connects two spaces in a single world, thus has a completely different significance.

    Noh actors wear silk costumes called shozoku robes along with wigs, hats, and props such as the fan. With striking colors, elaborate texture, and intricate weave and embroidery, Noh robes are truly works of art in their own right.

    For centuries, in accordance with the vision of Zeami, Noh costumes emulated the clothing that the characters would genuinely wear, such as the formal robes for a courtier and the street clothing for a peasant or commoner.

    But in the late sixteenth century, the costumes became stylized with certain symbolic and stylistic conventions. During the Edo Tokugawa period, the elaborate robes given to actors by noblemen and samurai in the Muromachi period were developed as costumes.

    The musicians and chorus typically wear formal montsuki kimono black and adorned with five family crests accompanied by either hakama a skirt-like garment or kami-shimo , a combination of hakama and a waist-coat with exaggerated shoulders.

    Finally, the stage attendants are garbed in virtually unadorned black garments, much in the same way as stagehands in contemporary Western theatre.

    The use of props in Noh is minimalistic and stylized. The most commonly used prop in Noh is the fan , as it is carried by all performers regardless of role.

    Chorus singers and musicians may carry their fan in hand when entering the stage, or carry it tucked into the obi the sash. The fan is usually placed at the performer's side when he or she takes position, and is often not taken up again until leaving the stage.

    During dance sequences, the fan is typically used to represent any and all hand-held props, such as a sword, wine jug, flute, or writing brush.

    The fan may represent various objects over the course of a single play. When hand props other than fans are used, they are usually introduced or retrieved by kuroko who fulfill a similar role to stage crew in contemporary theatre.

    Like their Western counterparts, stage attendants for Noh traditionally dress in black, but unlike in Western theatre they may appear on stage during a scene, or may remain on stage during an entire performance, in both cases in plain view of the audience.

    The all-black costume of kuroko implies they are not part of the action on stage and are effectively invisible. Set pieces in Noh such as the boats, wells, altars, and bells, are typically carried onto the stage before the beginning of the act in which they are needed.

    Noh is a chanted drama, and a few commentators have dubbed it "Japanese opera ". However, the singing in Noh involves a limited tonal range, with lengthy, repetitive passages in a narrow dynamic range.

    Texts are poetic, relying heavily on the Japanese seven-five rhythm common to nearly all forms of Japanese poetry , with an economy of expression, and an abundance of allusion.

    The singing parts of Noh are called " Utai " and the speaking parts " Kataru ". The chant is not always performed "in character"; that is, sometimes the actor will speak lines or describe events from the perspective of another character or even a disinterested narrator.

    Far from breaking the rhythm of the performance, this is actually in keeping with the other-worldly feel of many Noh plays, especially in those characterized as mugen.

    Of the roughly plays created for Noh that are known today, about make up the current repertoire performed by the five existing Noh schools.

    The current repertoire is heavily influenced by the taste of aristocratic class in Tokugawa period and does not necessarily reflect popularity among the commoners.

    All Noh plays can be classified into three broad categories. While Genzai Noh utilizes internal and external conflicts to drive storylines and bring out emotions, Mugen Noh focuses on utilizing flashbacks of the past and the deceased to invoke emotions.

    All Noh plays are divided by their themes into the following five categories. This classification is considered the most practical, and is still used in formal programming choices today.

    The following categorization is that of the Kanze school. Zeami and Zenchiku describe a number of distinct qualities that are thought to be essential to the proper understanding of Noh as an art form.

    Noh is still regularly performed today in public theatres as well as private theatres mostly located in major cities.

    There are more than 70 Noh theatres throughout Japan, presenting both professional and amateur productions.

    Additionally, there are various prefectural and municipal theatres located throughout Japan that present touring professional companies and local amateur companies.

    In some regions, unique regional Noh such as Ogisai Kurokawa Noh have developed to form schools independent from five traditional schools.

    Audience etiquette is generally similar to formal western theatre—the audience quietly watches. Surtitles are not used, but some audience members follow along in the libretto.

    Because there are no curtains on the stage, the performance begins with the actors entering the stage and ends with their leaving the stage.

    The house lights are usually kept on during the performances, creating an intimate feel that provides a shared experience between the performers and the audience.

    At the end of the play, the actors file out slowly most important first, with gaps between actors , and while they are on the bridge hashigakari , the audience claps restrainedly.

    Between actors, clapping ceases, then begins again as the next actor leaves. Unlike in western theatre, there is no bowing, nor do the actors return to the stage after having left.

    A play may end with the shite character leaving the stage as part of the story as in Kokaji, for instance —rather than ending with all characters on stage—in which case one claps as the character exits.

    During the interval, tea , coffee , and wagashi Japanese sweets may be served in the lobby. The audience is seated in front of the stage, to the left side of the stage, and in the corner front-left of stage; these are in order of decreasing desirability.

    While the metsuke-bashira pillar obstructs the view of the stage, the actors are primarily at the corners, not the center, and thus the two aisles are located where the views of the two main actors would be obscured, ensuring a generally clear view regardless of seating.

    From Wikipedia, the free encyclopedia. This article is about the classical Japanese dance theatre. For the town in Africa, see Noh, Burkina Faso.

    For other uses, see Nou disambiguation. Not to be confused with Kabuki or Kagura. Classical Japanese dance-drama theatre.

    Noh performance at Itsukushima Shrine. Mythology and folklore. Mythology folklore. Buddhism Christian New religions Shinto.

    Bonsai Gardens Ikebana Pottery and porcelain. Light novel Anime Manga Poetry. Music and performing arts.

    Martial arts. Flag Coat of arms. Main articles: Zeami Motokiyo and Kan'ami. Plays with individual articles are listed in Category:Noh plays.

    Japanese Theatre. Rutland, Vermont: Charles E. Tuttle Co. Retrieved 21 November The Japanese theatre: from shamanistic ritual to contemporary pluralism.

    Princeton University Press. Yale Art Gallery. Tokyo: Kadokawa. National Cultural Heritage Database in Japanese. The Agency for Cultural Affairs, Japan.

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