Noh (drama)

Noh is a form of traditional Japanese theater involving music, dance, and acting; the term is also used to describe the dramatic plays performed in Noh theater productions. It is also sometimes called Nō. Noh means skill or talent in Japanese. Many plays are centered upon the depiction of a single emotion that is expressed by the lead character called the shite (pronounced she-tay). The plays have remained relatively static since the sixteenth century. They recall traditional fifteenth- or sixteenth-century Japanese life. Performers are required to imitate exactly the lines and steps as they have previously been performed; there is not supposed to be any artistic interpretation.

Noh is one of the principal forms of traditional theater in Japan, alongside Kabuki and Bunraku. Kabuki is a type of highly stylized theater involving both drama and dance, while Bunraku is a form of puppet theater. These three art forms have all been designated as part of the world's intangible cultural heritage by the United Nations Educational, Scientific and Cultural Organization (UNESCO).

Brief History

Noh is among the most ancient forms of traditional theater. Its origins are linked to a form of Chinese theater called sangaku (meaning variety arts) that was brought to Japan in the eighth century. Sangaku consisted of high-energy performances of acrobatics, puppetry, and pantomime. It merged with indigenous Japanese performing arts to create a new form of theater called sarugaku (Japanese for monkey music). Like sangaku, sarugaku involved a collection of circus-like performances and native Japanese arts like drum dancing.

Sarugaku was largely performed for the regular classes of people, while garaku—a form of arts, music, and dance—was reserved for the elite. Over time, sarugaku became focused on the more comedic elements of theatrical performance. The shorter skits typical of sarugaku began to evolve into longer performances. In the early fourteenth century (the Nanboku-cho period), sarugaku became divided into two specialties: sarugaku noh and dengaku noh. Saragaku noh emphasized realistic movement, while dengaku noh focused on symbolic physical expressions.

At the start of the Muromachi period of Japanese history, troupes of performers began to specialize in both forms of theater. One such group, called Yusaki-za, was founded by an actor named Kan'ami Kiyotsugu. Under his guidance, sarugaku noh started to feature an increased emphasis upon a dance style called kusemai. However, it was under his son Zeami Motokiyo that Noh developed into a distinct art form. As a boy, Zeami gained the patronage of the shogun Ashikaga Yoshimitsu, who had him schooled in traditional Japanese drama. With Yoshimitsu's favor, both Zeami and Noh gained in prestige and popularity.

Zeami penned approximately fifty plays, many of which continue to be among the most enduring and famous of Noh scripts. He also authored Jūroku-bu-shū, which was rediscovered and printed in 1883. It outlined his ideology about the instruction of Noh and the underlying methods of performance.

Under Tokugawa Hidetada, the second leader of the Tokugawa shogunate, Noh was made the officially sanctioned art form of the government and given national funding. This allowed its continued growth and popularity among all segments of the Japanese population. However, after the fall of the Tokugawa shogunate in 1868, Noh's special status was taken away, and it lost considerable prestige. In 1957, the Japanese government once again gave Noh a special cultural position as an important intangible cultural property. With this renewed support, Japan has seen the restoration of Noh throughout the country.

Overview

Noh is characterized by its highly choreographed movements, elaborate costumes, and ornate masks. Noh plays are differentiated from other forms of Japanese drama by their intensity of emotion. To fully express the depth of the lead character's feelings, the drama extends beyond dialogue. Dance, music, and choreographed movements all serve to heighten the building characterization of emotion.

A recurring theme of Noh plays involves the revisiting of a significant moment in the life of spectral historical or aristocratic figure. These plays are called mugen noh (phantasmal noh plays) and may feature a re-enactment of a warrior's most famous battle or the love dance of an enamored princess. Among the most famous works of this type is Zeami's Izutsu (or The Well Head). The story relates the interactions between a ghostly woman (the Lady Izutsu) and a traveling Buddhist monk. The woman recounts the story of the love affair between Ariwara no Narihira and the daughter of Ki no Aritsune. The old woman explains that their courtly love affair (including the exchange of love poems) began at the same wellhead the monk is visiting. Later, the monk learns that the ghost was that of Lady Izutsu herself and she visits him in a dream in which she performs an elaborate dance reflecting her continuing love of her deceased spouse. The monk says a prayer for the woman, and she disappears, crying.

Noh plays are often short, and a single performance may include between two and five distinct plays. These plays are interspersed by a single fifteen to twenty minute interlude of a comedic Kyōgen (meaning mad words) play. The combination of Noh and Kyōgen theater in one setting is called Nōgaku.

There are four types of Noh performers: the shite, the waki, the hayashi, and the kyōgen. The shite is the main actor, around whom the play is centered. The shite is the only performer to wear a mask. The other performers are intended to support and highlight the shite's performance. The waki are the other supporting actors on stage. The hayashi are the musicians. The hayashi troupe consists of four musicians: a flutist, shoulder-drum player, hip-drum player, and stick-drum player. The kyōgen is another form of actor who performs the short comedic kyōgen play during an interval. Sometime ai-kyōgen actors—meaning kyōgen interval actors—act as narrators who explain the story to the waki in an interval within a main Noh drama. Traditionally, all Noh roles were performed by men, although women have seen greater inclusion in the art beginning in the twentieth century.

In contrast to the ornately detailed costumes and masks, Noh stages are minimalist in design, with a simple background and few set props. This is intended to highlight the performance of the shite, so that there are no distractions from this actor's movements. The stage areas are always covered by a roof (even when inside) so that the stage resembles a small house. These roofs honor the historical tradition of Noh plays typically being performed in outdoor settings for much of their early history.

Bibliography

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