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2023:"), and painted with natural pigments on a neutral base of glue and crushed seashell. There are approximately 450 different masks mostly based on sixty types, all of which have distinctive names. Some masks are representative and frequently used in many different plays, while some are very specific and may only be used in one or two plays. Noh masks signify the characters' gender, age, and social ranking, and by wearing masks the actors may portray youngsters, old men, female, or nonhuman (
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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.
3465: – Yeats wrote an essay on Noh titled "Certain Noble Plays of Japan" in 1916. As much as he tried to learn Noh, there were limited resources available in England at the time. The lack of complete understanding of Noh led him to create innovative works guided by his own imagination and what he fantasized Noh to be. Yeats wrote four plays heavily influenced by Noh, using ghosts or supernatural beings as the central
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2492:(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.
56:
1992:). Made of red and black lacquered wood, with red silk tying cord, by Himi Munetada (氷見宗忠). Edo period, 19th century. Left: Nakizo, representing a female deity or woman of high rank, associated with Nō plays such as Hagoromo and Ohara Miyuki. Made of lacquered and painted wood by Norinari (憲成), designed by Zoami (増阿弥). 18th–19th century.
3686:. 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.
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Of the roughly 2000 plays created for Noh that are known today, about 240 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
2046:
Noh masks are treasured by Noh families and institutions, 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. According to the
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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
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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
2509:
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. These props normally are only outlines to suggest actual objects, although the great bell, a perennial exception to most Noh rules for props,
2439:
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
1038:
Noh is often based on tales from traditional literature with a supernatural being transformed into human form as a hero narrating a story. Noh integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by
1365:
popular to the middle class focused on new and experimental entertainment, Noh strived to preserve its established high standards and historic authenticity and remained mostly unchanged throughout the era. To capture the essence of performances given by great masters, every detail in movements and
2621:
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 otherworldly feel of
2297:) 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" (
2042:
Even though the mask covers an actor's facial expressions, the use of the mask in Noh is not an abandonment of facial expressions altogether. Rather, its intent is to stylize and codify the facial expressions through the use of the mask and to stimulate the imagination of the audience. By using
3171:
Noh, in which a god or a spirit appears before a secondary character as the protagonist. Ikegami argues that "the dramatic conflict which was much in evidence in Yeats is so completely discarded that
Beckett's theatre (where 'nothing happens') comes to look even closer to Noh than Yeats's
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in the role of monsters, goblins, or demons, and are often selected for their bright colors and fast-paced, tense finale movements. Kiri Noh is performed the last in a five-play program. There are roughly 30 plays in this category, most of which are shorter than the plays in the other
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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. Traditionally, a formal 5-play program is composed of a selection from each of the groups.
3236:, without ever having seen a Noh play. Thomas Leabhart states that "Jacques Copeau was drawn instinctively by taste and tendency to a restrained theatre which was based in spirituality." Copeau praised Noh theatre in writing when he finally saw a production in 1930.
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that "the narrative is a bleary mix of
Japanese Noh theatre, Ethiopian folk mythology, Greek drama and his own wacky imagination". Will Salmon cites Partch himself writing, "Noh has been for centuries a fine art, one of the most sophisticated the world has known."
2304:
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
1486:, the rules forbidding women from joining various schools and associations in Noh were relaxed. In 1948, the first women joined the Nohgaku Performers' Association. In 2004, the first women joined the Association for Japanese Noh Plays. In 2007, the
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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.
3693:), 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
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referred to various types of performance 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
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in the role of a deity to tell the mythic story of a shrine or praise a particular god. Many of them structured in two acts, the deity takes a human form in disguise in the first act and reveals the real self in the second act. (e.g.
2000:
Three pictures of the same female mask showing how the expression changes with a tilting of the head. This mask expresses different moods. In these pictures, the mask was affixed to a wall with constant lighting, and only the camera
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both the number of Noh performers and Noh stages greatly diminished. The support from the imperial government was eventually regained partly due to Noh's appeal to foreign diplomats. The companies that remained active throughout the
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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,
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means tranquil and quiet. Rōjaku is the final stage of performance development of the Noh actor, in which he eliminates all unnecessary action or sound in the performance, leaving only the true essence of the scene or action being
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The fall of the
Tokugawa shogunate in 1868 and the formation of a new, modernized government resulted in the end of financial support by the state, and the entire field of Noh experienced major financial crisis. Shortly after the
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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.
104:
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is invisible beauty that is felt rather than seen in a work of art. The term is used specifically in relation to Noh to mean the profound beauty of the transcendental world, including mournful beauty involved in sadness and
2570:". 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
1201:
of the Noh actors in 14th century indicate they were members of families specializing in the performing arts. According to legend, the
Konparu School, which is considered to be the oldest tradition of Noh, was founded by
3666:). 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
3589:(both 心): Defined as "heart," "mind," or both. The kokoro of noh is that which Zeami speaks of in his teachings, and is more easily defined as "mind." To develop hana the actor must enter a state of no-mind, or
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2420:(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. Costumes for the
1482:, Noh performers taught wealthy people and nobles, and this led to more opportunities for female performers because women insisted on female teachers. In the early 1900s, after women were allowed to join
3337: – Britten visited Japan in 1956 and saw for the first time Japanese Noh plays, which he called "some of the most wonderful drama I have ever seen." The influences were seen and heard in his ballet
1556:
when one play from each category is selected and performed in order. Each play can be broken into three parts, the introduction, the development, and the conclusion. A play starts out in a slow tempo at
3625:(歌舞一心, "song-dance-one heart"): the theory that the song (including poetry) and dance are two halves of the same whole, and that the Noh actor strives to perform both with total unity of heart and mind.
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in the 14th century. According to the genealogical chart of the
Konparu school, Bishaō Gon no Kami is a descendant after 53 generations of Hata no Kawakatsu. The Konparu school was descended from the
1043:, the text "vividly describes the ordinary people of the twelfth to sixteenth centuries". Having a strong emphasis on tradition rather than innovation, Noh is extremely codified and regulated by the
1613:
Zeami isolated nine levels or types of Noh acting from lower degrees which put emphasis on movement and violence to higher degrees which represent the opening of a flower and spiritual prowess.
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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.
1512:
dictates virtually every element of Noh including compiling of a program of plays, structuring of each play, songs and dances within plays, and the basic rhythms within each Noh performance.
3519:
that never vanishes still remains." The true Noh performer seeks to cultivate a rarefied relationship with his audience similar to the way that one cultivates flowers. What is notable about
1300:, 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.
2051:(572–622) over a thousand years ago. While the historical accuracy of the legend of Prince Shōtoku's mask may be contested, the legend itself is ancient as it is first recorded in Zeami's
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3154:
2189:
3178: – According to Maria P. Alter, Brecht began reading Japanese plays during the middle twenties and have read at least 20 Noh plays translated into German by 1929. Brecht's
1969:
Noh performance combines a variety of elements into a stylistic whole, with each particular element the product of generations of refinement according to the central Buddhist,
1229:
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
3609:(物真似, imitation or mimesis): the intent of a Noh actor to accurately depict the motions of his role, as opposed to purely aesthetic reasons for abstraction or embellishment.
3745:
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
1530:, ancient courtly music, to indicate gradually increasing tempo and was adopted in various Japanese traditions including Noh, tea ceremony, poetry, and flower arrangement.
124:
2815:
in a female role and feature some of the most refined songs and dances in all of Noh, reflecting the smooth and flowing movements representing female characters. (e.g.
2486:, 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
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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."
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in March 2010, "a dance/music event highlighting Xenakis' lifelong interest in Japanese music and theatre". The event featured a female Noh performer, Ryoko Aoki.
1134:
3426: – Xenakis "admired Noh, the venerable theatrical form known for its ritualistic formality and gestural complexity." Electronic Music Foundation presented
1629:
1996:
1258:
s favorite art form, Noh was able to become a courtly art form through this newly formed relationship. In 14th century, with strong support and patronage from
2732:
1206:
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
2205:
2723:
Noh (風流能) is little more than a dance piece characterized by elaborate stage action, often involving acrobatics, stage properties, and multiple characters.
1633:
2173:
1119:. 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
3445:
3547:
is a concept valued in various forms of art throughout Japanese culture. Originally used to mean elegance or grace representing the perfect beauty in
2357:
writes that "on the stage of the Noh theatre there are no sets that change with each piece. Neither is there a curtain. There is only a simple panel (
3110:
1306:, who was the great-grandson of Bishaō Gon no Kami, the founder of the Konparu school, and the husband of Zeami's daughter, incorporated elements of
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2879:) is frequently performed at the very beginning of the program, especially at New Year, holidays, and other special occasions. Combining dance with
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1490:
began to annually present regular programs by female performers. In 2009, there were about 1200 male and 200 female professional Noh performers.
770:
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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.
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2826:
There are about 94 "miscellaneous" plays traditionally performed in the fourth place in a five-play program. These plays include subcategories
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3246:(Huis-Clos) by Jean-Paul Sartre, a Noh version of Sartre's play directed by Guillaume Gallienne at the Noh Tessenkai theatre, Tokyo in 2006.
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pleads to a monk for salvation and the drama culminates in a glorious re-enactment of the scene of his death in a full war costume. (e.g.
1251:
marked the increasing power of the samurai class and strengthened the relationship between the shogunate and the court. As Noh became the
1103:
means "skill", "craft", or "talent", particularly in the field of performing arts in this context. The word Noh may be used alone or with
3990:
3379: – 20th century philosopher, the liner notes from his third song off the 1962 album 'This is IT' state "Watts in a Japanese no-noh."
1373:
appointed Kanze school as the head of the four schools. Kita Shichidayū (Shichidayū Chōnō), a Noh actor of the Konparu school who served
4358:
3936:
3689:
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 (
1981:
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209:
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also significantly broadened Noh's reach by catering to the general public, performing at theatres in major cities such as Tokyo and
45:
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3373:, "Japanese Noh theatre inspired him to design the oversize business suit that became a visual staple of Talking Heads live shows."
3650:. Each Noh school has its own permanent theatre, such as Kanze Noh Theater (Tokyo), Hosho Noh Theater (Tokyo), Kongo Noh Theater (
4979:
1418:
1039:
stylized conventional gestures while the iconic masks represent the roles such as ghosts, women, deities, and demons. Written in
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1321:
established by Kan'ami's eldest brother; the Konparu school; and the Kongō school. All of these schools were descendants of the
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2301:, "main stage"). The theatre itself is considered symbolic and treated with reverence both by the performers and the audience.
445:
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and he was inspired by the highly stylized practices of Noh, completely different from its Western counterparts that focus on
2586:) in between the actual sounds, and these negative blank spaces are in fact considered the heart of the music. In addition to
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2344:(flute pillar), clockwise from upstage right respectively. Each pillar is associated with the performers and their actions.
1425:
founded by the government in 1983 stages regular performances and organizes courses to train actors in the leading roles of
5385:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Noh
2258:
1: hashigakari. 2: kyōgen spot. 3: stage attendants. 4: stick drum. 5: hip drum. 6: shoulder drum. 7: flute. 8: chorus. 9:
5334:
3420:("Light") is based on "a mythology drawing on multiple cultural traditions, from Japanese Noh theatre to German folklore".
2440:
symbolic and stylistic conventions. During the Edo (Tokugawa) period, the elaborate robes given to actors by noblemen and
1656:, Ōkura (大蔵) and Izumi (和泉). Eleven schools train instrumentalists, each school specializing in one to three instruments.
5433:
4287:
3921:
3601:(妙): the "charm" of an actor who performs flawlessly and without any sense of imitation; he effectively becomes his role.
3523:
is that, like a flower, it is meant to be appreciated by any audience, no matter how lofty or how coarse his upbringing.
2082:
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380:
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4132:"Players, Performances and Existence of Women's Noh: Focusing on the Articles Run in the Japanese General Newspapers"
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3804:
1663:), to which all professionals are registered, strictly protects the traditions passed down from their ancestors (see
5350:
4857:
2654:
Noh (現在能, "present Noh") features human characters and events unfold according to a linear timeline within the play.
3274:
3718:(Japanese sweets) may be served in the lobby. In the Edo period, when Noh was a day-long affair, more substantial
5388:
3233:
2660:
Noh (夢幻能, "supernatural Noh") involves supernatural worlds, featuring gods, spirits, ghosts, or phantasms in the
2056:
2594:
ensemble consists of four musicians, also known as the "hayashi-kata", including three drummers, which play the
4841:
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actors are trained in the schools Takayasu (高安), Fukuou (福王), and Hōshō (宝生). There are two schools that train
943:
618:
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for instance)—rather than ending with all characters on stage—in which case one claps as the character exits.
1474:, the guild system gradually tightened, which largely excluded women from Noh, except for some women (such as
1421:, which affords a degree of legal protection to the tradition as well as its most accomplished practitioners.
1366:
positions was reproduced by others, generally resulting in an increasingly slow, ceremonial tempo over time.
738:
205:
5006:
3196: – Yoshi Oida, a Japanese actor with training in Noh, began working with Brook in their production of
1483:
482:
5045:
3212:, Paul Claudel learned about Noh during the time he served as French Ambassador to Japan. Claudel's opera
2668:
fashion, and action may switch between two or more timeframes from moment to moment, including flashbacks.
5423:
4604:
999:, it is the oldest major theater art that is still regularly performed today. Although the terms Noh and
477:
214:
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incorporates various elements of Noh such as lack of plot, representative characters, and use of ghosts.
3728:(幕の内弁当, "between-acts lunchbox") were served. On special occasions, when the performance is over, お神酒 (
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842:
800:
4370:
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saying "after you master the secrets of all things and exhaust the possibilities of every device, the
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in particular are extravagant, shimmering silk brocades, but are progressively less sumptuous for the
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3311: – An English composer Bell wrote music for modern presentation of several Noh plays, including
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2574:, with an economy of expression, and an abundance of allusion. The singing parts of Noh are called "
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garment, Edo period, 18th century, bamboo and chrysanthemum design on red and white checkered ground
5418:
2325:
shrines. The roof also unifies the theatre space and defines the stage as an architectural entity.
1669:). However, several secret documents of the Kanze school written by Zeami, as well as materials by
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5227:
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Londraville, Richard (1999). Blank, Martin; Brunauer, Dalma Hunyadi; Izzo, David Garrett (eds.).
1840:(囃子方) are the instrumentalists who play the four instruments used in Noh theatre: the transverse
1621:
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1318:
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Audience etiquette is generally similar to formal Western theatre—the audience quietly watches.
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The use of props in Noh is minimalistic and stylized. The most commonly used prop in Noh is the
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Therapeutic Noh Theater: Sohkido Pathway VII of the Seven Pathways of Transpersonal Creativity
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4594:"Drama – Advanced Higher – Twentieth-Century Theatre – Peter Brook – Annotated Bibliography"
3617:, although the two represent endpoints of a continuum rather than being completely separate.
2391:) that connects two spaces in a single world, thus has a completely different significance.
1207:
1172:(traditional dances performed by female dancers in the Imperial Court in the 12th century),
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Takahashi, Yasunari; Ikegami, Yoshihiko (1991). "The Ghost Trio: Beckett, Yeats, and Noh".
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Noh (劇能) is a drama piece based around the advancement of plot and the narration of action.
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Noh utilizes internal and external conflicts to drive storylines and bring out emotions,
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3343:(1957) and later in two of the three semi-operatic "Parables for Church Performance":
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When hand props other than fans are used, they are usually introduced or retrieved by
2354:
1265:, Zeami was able to establish Noh as the most prominent theatre art form of the time.
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family that carries the name of the school and is considered the most important. The
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and Noh are sometimes used interchangeably, the Japanese government's definition of "
1398:
1377:, founded the Kita school, which was the last established of the five major schools.
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1203:
1145:, which was introduced to Japan from China in the 8th century. At the time, the term
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Salmon, Will (1983). "The Influence of Noh on Harry Partch's Delusion of the Fury".
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1178:(music and dance performed in the Imperial Court beginning in the 7th century), and
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5282:(First English ed.). Tokyo: Japan Publishing Industry Foundation for Culture.
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Letters from a Life: The Selected Letters of Benjamin Britten, Volume IV, 1952–1957
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The Bulletin of the International Society for Harmony & Combination of Cultures
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Actors begin their training as young children, traditionally at the age of three.
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3414: – The essentially plotless libretto of Stockhausen's grand operatic cycle
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implies they are not part of the action on stage and are effectively invisible.
2047:
current head of the Konparu school, the mask was carved by the legendary regent
1313:
By this period, among the five major schools of Noh, four were established: the
135:
19:
This article is about the classical Japanese dance theatre. For other uses, see
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A typical Noh play always involves the chorus, the orchestra, and at least one
1673:, have been diffused throughout the community of scholars of Japanese theatre.
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is incorporated in the traditional five-play program of Noh. The first play is
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762:
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2566:能囃子). Noh is a chanted drama, and a few commentators have dubbed it "Japanese
2353:, Japanese cypress, with almost no decorative elements. The poet and novelist
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relies less on the use of masks and is derived from the humorous plays of the
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5235:
5210:
4915:"Harry Partch – how Heiner Goebbels bought Delusion of the Fury to Edinburgh"
3549:
3449:
3362:
3249:
3142:
1740:
appears first as a human and then as a ghost, the first role is known as the
1307:
1215:
1139:
1057:
874:
534:
286:
5156:
5137:
4263:
1648:
holds the power to create new plays or modify lyrics and performance modes.
5413:
5392:
5307:. Ed. Masakazu Yamazaki. Princeton, New Jersey: Princeton University Press.
5249:
5179:
5094:
Dramatic Action in Greek Tragedy and Noh: Reading with and Beyond Aristotle
4919:
4862:
4700:
Hori, Mariko (1994). "Aspects of Noh Theatre in Three Late O'Neill Plays".
4629:
3535:" is the flower of creating and sharing perfect beauty through performance.
3391:
3382:
3345:
3229:
3209:
3205:
924:
595:
3670:
have developed to form schools independent from five traditional schools.
3531:
is the beauty of the flower of youth, which passes with time, while "true
2510:
is designed to conceal the actor and to allow a costume change during the
1736:
is the main protagonist, or the leading role in plays. In plays where the
1508:
1501:
686:
5207:(Foreword by Ricardo D. Trimillos) Honolulu: University of Hawaiʻi Press.
3462:
3358:
3294:
and his sister Isabel Wilder also confirmed his interests. Wilder's work
3290: – Wilder himself expressed his interest in Noh in his "Preface” to
3198:
3193:
3146:
2596:
1854:
1479:
1062:
640:
519:
276:
4571:
4532:
2675:
2602:
2537:
1872:
5068:"Remembering Mae J. Smethurst | University of Pittsburgh Japan Studies"
4429:
3879:
The Japanese theatre: from shamanistic ritual to contemporary pluralism
3832:
The Representative List of the Intangible Cultural Heritage of Humanity
3720:
3655:
3647:
3441:
3376:
3056:
2665:
2488:
2317:
1475:
1471:
1452:
is performed in between Noh plays in the same space. Compared to Noh, "
1431:
the Representative List of the Intangible Cultural Heritage of Humanity
1338:
1278:
1166:(popular entertainment including acrobatics, juggling, and pantomime),
992:
357:
4964:
4258:
4256:
2372:, a narrow bridge at upstage right used by actors to enter the stage.
970:
390:
5355:
4113:"TRIVIA of Noh : Q25 : Can a woman become a Noh performer?"
3679:
3020:
2608:
2543:
2379:
1907:
1403:
1219:
1198:
733:
4650:(2004). "Jacques Copeau, Etienne Decroux, and the 'Flower of Noh'".
2254:
1818:
1577:
1349:
1343:
1236:
1011:
1001:
4956:
4884:
4556:
Alter, Maria P. (Summer 1968). "Bertolt Brecht and the Noh Drama".
4253:
4131:
3683:
3448:, writing and translating several works that compared compared the
3370:
2405:
2306:
2024:
1830:
actors also perform in separate plays between individual Noh plays.
1457:
1240:
1162:
1121:
1023:
plays in between; an abbreviated program of two Noh plays with one
529:
3724:
2460:(black and adorned with five family crests) accompanied by either
1027:
piece has become common today. Optionally, the ritual performance
404:
3764:
3714:
3663:
1794:(脇, ワキ) performs the role that is the counterpart or foil of the
1231:
1160:(rural celebrations performed in connection with rice planting),
1156:
613:
5317:
3361: – Byrne encountered Noh when he was on tour in Japan with
1593:
1341:, Noh continued to be an aristocratic art form supported by the
1268:
166:
3739:
3709:
3659:
3280:
3002:
2880:
2710:
Additionally, all Noh plays may be categorized by their style.
2614:
2497:
2462:
2456:
2384:
2349:
2322:
2167:
type. 15th or 16th century. Deemed Important Cultural Property.
2101:
type. 16th or 17th century. Deemed Important Cultural Property.
2077:
2019:
1970:
1665:
1526:
1355:
1186:
1180:
1174:
1045:
681:
603:
581:
385:
3738:) may be served in the lobby on the way out, as it happens in
2522:
5279:
Noh as Living Art: Inside Japan's Oldest Theatrical Tradition
3651:
3511:(Instructions on the Posture of the Flower), Zeami describes
3416:
2567:
2549:
2531:
2028:
1927:
1841:
1407:
1244:
1125:
in the mid 14th century and continues to be performed today.
1085:
996:
991:
that has been performed since the 14th century. Developed by
988:
728:
676:
645:
400:
76:
5351:
Virtual Reality and Virtual Irreality On Noh-Plays and Icons
4723:. West Cornwall, Connecticut: Locust Hill. pp. 365–378.
4342:. Cambridge, Massachusetts: Harvard University Asia Center.
3682:
are not used, but some audience members follow along in the
2246:
1681:
1616:
In 2012, there are five extant schools of Noh acting called
4780:"William Henry Bell 1873-1946: Music for Japanese no plays"
4444:
3734:
2362:
2231:
2035:, the main actor, wears a mask in most plays, although the
2006:
1786:(地謡) is the chorus, usually comprising six to eight people.
5374:
Photos of Noh-masks carved by Ichyuu Terai in Kyoto Japan.
5360:
5224:
New York: Center for Advanced Study in Theatre Arts, CUNY.
4112:
2409:) with Checks and Conch Shells. Edo period, 18th century,
5400:
at the Amherst College Archives & Special Collections
5301:
On the Art of the Nō Drama: The Major Treatises of Zeami.
4634:
The Theater of Bertolt Brecht: A Study from Eight Aspects
3705:
2635:
commoners. There are several ways to classify Noh plays.
1478:) performing songs in marginal situations. Later, in the
1353:), as well as wealthy and sophisticated commoners. While
5347:
Japanese Text Initiative, University of Virginia Library
4521:
The Empire of Signs: Semiotic Essays on Japanese Culture
3697:
character leaving the stage as part of the story (as in
1973:, and minimalist aspects of Noh's aesthetic principles.
1329:
supported only the Kanze school among the four schools.
4452:"Introduction to Noh and Kyogen – Plays and Characters"
4419:. Boston: Museum of Fine Arts Publications, 2008. p109.
4310:
2674:
Noh (両掛能, "mixed Noh"), though somewhat uncommon, is a
2199:
type. 16th century. Deemed Important Cultural Property.
2151:
type. 15th century. Deemed Important Cultural Property.
2133:
type. 17th century. Deemed Important Cultural Property.
2117:
type. 17th century. Deemed Important Cultural Property.
55:
3157:. Barba primarily studied the physical aspects of Noh.
2883:
ritual, it is considered the oldest type of Noh play.
2229:
2212:
2146:
5371:
4055:(in Japanese). The Agency for Cultural Affairs, Japan
2622:
many Noh plays, especially in those characterized as
26:"Nō" redirects here. For similarly named topics, see
5215:
Traditional Japanese Theater: An Anthology of Plays.
4395:(Foundation ed.). Boston, MA: Allyn and Bacon.
3145: – Between 1966 and 1972, Japanese Noh Masters
2236:
with Noh masks. (front and back) early 19th century.
1296:
Kan'ami first presented his work to the 17-year-old
2789:. The protagonist appearing as a ghost of a famous
1709:There are four major categories of Noh performers:
5220:Ortolani, Benito; Leiter, Samuel L. (eds) (1998).
3792:
3133:Many Western artists have been influenced by Noh.
1780:(後見) are stage hands, usually one to three people.
4306:. The Nohgaku performers' association. p. 3.
2702:of the past and the deceased to invoke emotions.
2250:A modern Noh theatre with indoor roofed structure
2017:) are carved from blocks of Japanese cypress (檜 "
1552:were created so that the program would represent
5405:
4518:
1934:. The flute used for Noh is specifically called
1766:(連れ, ツレ), although this term refers to both the
1019:program included several Noh plays with comedic
4736:"Elements of Japanese Noh in Thornton Wilder's
4391:Brockett, Oscar G.; Hildy, Franklin J. (2007).
3822:
3820:
3818:
3816:
3258:L'École Internationale de Théâtre Jacques Lecoq
2842:(現在物, present plays), as well as others. (e.g.
2647:can be classified into three broad categories.
2502:view of the audience. The all-black costume of
2451:The musicians and chorus typically wear formal
1935:
1925:
1905:
1882:
1870:
1852:
1089:
976:
4428:
4076:
4074:
4072:
4070:
3389:"a ritualistic web". Kate Molleson wrote for '
3224: – In 1923, Copeau worked on a Noh play,
3163: – Yoshihiko Ikegami considers Beckett's
1942:
1919:
1899:
1889:
1864:
1846:
1524:means rapid or urgent. The term originated in
1108:
1096:
968:
5383:Momoyama, Japanese Art in the Age of Grandeur
5356:Page on the variable expressions of Noh masks
5345:Nō Plays -Translations of thirteen Noh plays-
4636:. London: Methuen & Co. pp. 116–117.
4390:
4038:
2898:Plays with individual articles are listed in
2664:role. Time is often depicted as passing in a
2556:Noh theatre is accompanied by a chorus and a
1380:
1269:The establishment of Noh by Kan'ami and Zeami
944:
5118:Sekine, Masaru; Murray, Christopher (1990).
5117:
4514:
4512:
4202:The Noh Theater: Principles and Perspectives
3953:Breaking Down Barriers: A History of Chanoyu
3813:
2905:The following categorization is that of the
987:is a major form of classical Japanese dance-
4718:
4264:"About the Nohgaku Performers' Association"
4195:
4193:
4191:
4083:"Living and Breathing History, Through Noh"
4067:
3882:. Princeton University Press. p. 132.
3871:
3869:
3218:shows an unmistakable influence of the Noh.
3202:in 1968. Oida later joined Brook's company.
2368:Another unique feature of the stage is the
1413:In 1957 the Japanese Government designated
1310:into Zeami's Noh and further developed it.
1190:dances in folk tales) evolved into Noh and
5398:Howard B. Hamilton Japanese Theater Papers
4858:"Interview: David Byrne, musician, author"
4371:"Noh masks formerly owned by Konparu Sōke"
4293:
4240:
4238:
4236:
4189:
4187:
4185:
4183:
4181:
4179:
4177:
4175:
4173:
4171:
3867:
3865:
3863:
3861:
3859:
3857:
3855:
3853:
3851:
3849:
3799:. Rutland, Vermont: Charles E. Tuttle Co.
2328:The pillars supporting the roof are named
1826:(間狂言), which are interludes during plays.
1540:, the second, third, and fourth plays are
1031:may be presented in the very beginning of
951:
937:
54:
5155:
5097:. Rowman & Littlefield. pp. ix.
5090:
4828:
4509:
4316:
4224:
4025:
4023:
4021:
4019:
3932:
3930:
2347:The stage is made entirely of unfinished
2055:written in the 14th century. Some of the
1548:. In fact, the five categories discussed
1444:" theatre encompasses both Noh plays and
1128:One of the oldest forerunners of Noh and
1115:; entertainment, music) to form the word
5205:Nō and kyōgen in the contemporary world.
5132:
5005:
4912:
4646:
4384:
4229:. Melbourne: Drama Victoria. p. 32.
4155:
4149:
4129:
4107:
4105:
4103:
4017:
4015:
4013:
4011:
4009:
4007:
4005:
4003:
4001:
3999:
3986:
3984:
3950:
3875:
3786:
3784:
3629:
3493:
3136:
3128:
2731:
2521:
2398:
2253:
2245:
1995:
1980:
1680:
1576:
1384:
1317:, established by Kan'ami and Zeami; the
1214:troupe which had played active roles in
1067:
1056:
4800:
4628:
4490:
4340:The Ethos of Noh – Actors and Their Art
4333:
4331:
4329:
4327:
4325:
4244:
4233:
4199:
4168:
4080:
3944:
3917:
3915:
3913:
3911:
3846:
3284:have various similarities to Noh plays.
1964:
1572:
1462:, as reflected in its comic dialogue."
1235:class of the time. The transfer of the
5406:
5363:the-Noh.com: Comprehensive Site on Noh
5275:
5222:Zeami and the Nō Theatre in the World.
5120:Yeats and the Noh: A Comparative Study
5111:
4940:
4733:
4486:
4484:
4482:
4480:
4478:
4476:
4474:
4472:
4440:. New York: New Directions Publishing.
4204:. New York / Tokyo: John Weatherhill.
4136:Journal of International Japan-Studies
3927:
3790:
3260:founded by Lecoq is influenced by Noh.
2860:(鬼物, demon plays) usually feature the
2678:of the above with the first act being
2063:, and are exhibited there frequently.
1419:Important Intangible Cultural Property
16:Classical Japanese dance-drama theater
5361:Noh plays Photo Story and Story Paper
4977:
4555:
4549:
4363:
4164:] (in Japanese). Tokyo: Kadokawa.
4100:
4029:
3996:
3981:
3781:
3673:
2416:Noh actors wear silk costumes called
1659:The Nohgaku Performers' Association (
5217:New York: Columbia University Press.
4699:
4337:
4322:
4081:Whatley, Katherine (24 March 2018).
3908:
2705:
2612:(shoulder drum) respectively, and a
2582:". The music has many blank spaces (
2340:(secondary character's pillar), and
2039:may also wear a mask in some plays.
1005:are sometimes used interchangeably,
5320:THE NOHGAKU PERFORMERS' ASSOCIATION
5318:THE NOHGAKU PERFORMERS' ASSOCIATION
5138:"Pound, Yeats, and the Noh Theater"
4883:
4469:
4268:The Nohgaku Performers' Association
4053:National Cultural Heritage Database
2891:For a more comprehensive list, see
2081:type. 17th or 18th century. Deemed
46:UNESCO Intangible Cultural Heritage
13:
5197:
5176:The Nohgaku Performers Association
5060:
5011:"The Week Ahead Feb. 28 – March 6"
3471:for the first time. The plays are
3408:by Zenbō Motoyasu, into its story.
2517:
14:
5450:
5311:
4980:"An Operatic Conundrum Untangled"
4913:Molleson, Kate (29 August 2014).
1325:troupe from Yamato Province. The
5203:Brandon, James R. (ed.) (1997).
4438:The Classic Noh Theatre of Japan
4130:Suzumura, Yusuke (Mar 8, 2013).
3955:. Yale Art Gallery. p. 51.
3153:gave seminars on Noh at Barba's
2529:(noh musicians). Left to right:
2332:(principal character's pillar),
2222:
2204:
2188:
2172:
2156:
2138:
2122:
2106:
2090:
2068:
1640:actors. Each school has its own
1283:In the 14th century, during the
918:
245:Post-Japanese occupation history
165:
134:
5164:
5126:
5084:
5030:
4999:
4971:
4934:
4906:
4877:
4850:
4822:
4794:
4772:
4727:
4712:
4693:
4680:
4640:
4622:
4603:. UK government. Archived from
4586:
4422:
4409:
4281:
4218:
4123:
3527:comes in two forms. Individual
3385: – Partch called his work
3182:is an adaptation of a Noh play
3155:Theater Laboratory of Holstebro
2886:
2869:In addition to the above five,
2785:(阿修羅能) takes its name from the
1465:
1429:. Noh was inscribed in 2008 on
1332:
5341:Ohtsuki Noh Theatre Foundation
4688:Dictionnaire amoureux du Japon
4415:Morse, Anne Nishimura, et al.
4162:The "Present" of Noh and Zeami
3969:
3896:
3483:The Words upon the Window-Pane
3434:
3167:a parody of Noh, particularly
2387:theatres is literally a path (
1988:masks. Right: Drunken spirit (
1:
4978:Robin, William (6 May 2011).
4834:Benjamin Britten: A Biography
4808:. London: The Boydell Press.
4417:MFA Highlights: Arts of Japan
4156:Tsuchiya, Keiichirō (2014).
3775:
3654:), Nara Komparu Noh Theater (
3613:is sometimes contrasted with
3275:Long Day's Journey into Night
3190:as an adaptation of Noh play.
2811:(女物, woman plays) depict the
2361:) with a painting of a green
1433:by UNESCO as Nōgaku theatre.
985:word for "skill" or "talent")
5367:"Hachi-No-Ki, A Perspective"
4523:. Foundations of Semiotics.
3400:incorporates two Noh plays,
3302:
3186:. Brecht himself identified
2448:were developed as costumes.
2315:) or sacred dance pavilion (
1701:(musicians); rear left: two
1697:(chorus); rear center: four
1493:
1389:In the Noh Theatre, 1891 by
1061:World's oldest Noh stage at
7:
5230:(ed. & trans.) (1992).
5042:Electronic Music Foundation
4836:. London: Faber and Faber.
4721:Thornton Wilder: New Essays
4245:Hayashi, Kazutoshi (2012).
4225:Eckersley, M., ed. (2009).
3976:Kotobank, Konparu Zenchiku.
3753:
2762:(脇能) typically feature the
2394:
2230:
2217:type. 16th or 17th century.
2213:
2183:type. 17th or 18th century.
2147:
2083:Important Cultural Property
2057:masks of the Konparu school
1936:
1926:
1906:
1883:
1871:
1853:
1608:
1090:
977:
10:
5455:
5434:Japanese traditional music
5091:Smethurst, Mae J. (2013).
4734:Ashida, Ruri (June 2009).
4249:. Tokyo: Sekai Shisou Sha.
3951:Watanabe, Takeshi (2009).
3543:(幽玄, profound sublimity):
3317:Tsuneyo of the Three Trees
3234:Théâtre du Vieux-Colombier
2897:
2890:
2638:
2578:" and the speaking parts "
2466:(a skirt-like garment) or
1561:, gets slightly faster at
1549:
1499:
1381:Modern Noh after Meiji era
1272:
1079:
1052:
25:
18:
5072:www.japanstudies.pitt.edu
4944:Perspectives of New Music
4666:10.1017/S0266464X04000211
4301:"Enjoying Noh and Kyōgen"
3937:Kotobank, Konparu school.
3876:Ortolani, Benito (1995).
3646:, Osaka Noh Theater, and
3479:The Dreaming of the Bones
3452:form of theatre with noh.
3340:The Prince of the Pagodas
2698:Noh focuses on utilizing
1943:
1920:
1900:
1890:
1865:
1847:
1109:
1097:
1009:encompasses both Noh and
969:
133:
123:
115:
110:
100:
90:
82:
72:
53:
42:
37:
5429:Japanese styles of music
4157:
4047:
3791:Bowers, Faubion (1974).
3638:Public theatres include
3456:
3266: – O'Neill's plays
3083:Komachi at the Gravepost
2781:(修羅物, warrior plays) or
2739:(dedication of Noh play
2727:
2629:
2477:
2241:
1976:
1808:is the companion of the
1676:
1636:(喜多) schools that train
1544:, and the fifth play is
1423:The National Noh Theatre
1015:. Traditionally, a full
5276:Yasuda, Noboru (2021).
5157:10.17077/0021-065X.3210
4753:: 18–31. Archived from
4373:. Tokyo National Museum
4200:Komparu, Kunio (1983).
2682:Noh and the second act
2031:) characters. Only the
1154:as well as elements of
210:Science, and Technology
5332:Noh Stories in English
5122:. Rl Innactive Titles.
4456:the Japan Arts Council
4393:History of the Theatre
4338:Rath, Eric C. (2004).
3047:Komachi at Seki Temple
2856:(切り能, final plays) or
2830:(狂乱物, madness plays),
2747:
2553:
2413:
2286:
2251:
2002:
1993:
1706:
1693:; right: eight-member
1602:
1393:
1076:
1065:
344:Japanese Sign Language
5327:. Japan Arts Council.
5256:. Tuttle Shokai Inc.
5038:"Xenakis & Japan"
4893:The American Prospect
4702:Eugene O'Neill Review
4653:New Theatre Quarterly
4495:. Two Harbors Press.
4030:Ishii, Rinko (2009).
3704:During the interval,
3630:Existing Noh theatres
3494:Aesthetic terminology
3412:Karlheinz Stockhausen
3208: – According to
3137:Theatre practitioners
3129:Influence in the West
3029:The Wind in the Pines
2735:
2525:
2411:Tokyo National Museum
2402:
2257:
2249:
2061:Tokyo National Museum
1999:
1984:
1758:companion. Sometimes
1744:and the later as the
1684:
1580:
1565:, then culminates in
1388:
1071:
1060:
619:Pottery and porcelain
5172:"Noh Theater Search"
5009:(26 February 2010).
3640:National Noh Theatre
3507:(花, flower): In the
3398:Delusion of the Fury
3387:Delusion of the Fury
3325:The Pillow of Kantan
2289:The traditional Noh
2053:Style and the Flower
1965:Performance elements
1916:, and the stick-drum
1573:Performers and roles
1520:means breaking, and
1488:National Noh Theatre
1347:, the feudal lords (
1247:at the beginning of
1041:late middle Japanese
833:World Heritage Sites
781:Association football
739:Mobile phone culture
105:Asia and the Pacific
21:Noh (disambiguation)
5232:Japanese Nō Dramas.
4830:Carpenter, Humphrey
4690:, Paris, Plon 2021.
4572:10.3138/md.11.2.122
4533:10.1075/fos.8.12tak
3760:Higashiyama culture
3668:Ogisai Kurokawa Noh
3648:Fukuoka Noh Theater
3428:Xenakis & Japan
3240:Guillaume Gallienne
2807:(鬘物, wig plays) or
2787:Buddhist underworld
2758:(神物, god plays) or
2741:A Venerable Old Man
2470:, a combination of
1896:, the shoulder-drum
1685:Noh stage. Center:
1591:(1895–1939), head (
1436:Although the terms
1298:Ashikaga Yoshimitsu
1263:Ashikaga Yoshimitsu
981:, derived from the
848:Cultural Properties
843:Cultural Landscapes
446:Legendary creatures
196:Historical currency
111:Inscription history
28:No (disambiguation)
5424:History of theatre
5337:2018-11-01 at the
5325:"Noh & Kyogen"
5254:Noh plays of Japan
5016:The New York Times
4985:The New York Times
4889:"CSI: David Byrne"
4782:. Unsung Composers
4601:Education Scotland
4227:Drama from the Rim
4034:. Tokyo: Kadokawa.
3674:Audience etiquette
3644:Nagoya Noh Theater
3474:At the Hawk's Well
3444:collaborated with
3309:William Henry Bell
2993:The Feather Mantle
2900:Category:Noh plays
2748:
2554:
2414:
2287:
2252:
2003:
1994:
1762:is abbreviated to
1754:(仕手連れ, シテヅレ). The
1707:
1603:
1484:Tokyo Music School
1394:
1371:Tokugawa shogunate
1327:Ashikaga Shogunate
1208:Nanboku-chō period
1077:
1066:
853:National Treasures
540:Cultural festivals
119:2008 (3rd session)
65:Itsukushima Shrine
5289:978-4-86658-178-1
5270:978-4-8053-1033-5
5104:978-0-7391-7242-1
4802:Britten, Benjamin
4542:978-90-272-3278-6
4434:Fenollosa, Ernest
4402:978-0-205-47360-1
4087:The Theatre Times
3978:The Asahi Shimbun
3962:978-0-300-14692-9
3940:The Asahi Shimbun
3468:dramatis personae
3269:The Iceman Cometh
3215:Christophe Colomb
3165:Waiting for Godot
3126:
3125:
2893:List of Noh plays
2706:Performance style
2547:(shoulder drum),
2336:(gazing pillar),
1822:(狂言) perform the
1516:means beginning,
1399:Meiji Restoration
1375:Tokugawa Hidetada
1369:In this era, the
1289:Kan'ami Kiyotsugu
1204:Hata no Kawakatsu
961:
960:
801:American football
545:Japanese New Year
525:Buddha's Birthday
515:Coming of Age Day
282:Ōbeikei Islanders
225:Foreign relations
142:
141:
5446:
5439:Theatre of Japan
5378:How to enjoy Noh
5328:
5293:
5192:
5191:
5189:
5187:
5178:. Archived from
5168:
5162:
5161:
5159:
5134:Albright, Daniel
5130:
5124:
5123:
5115:
5109:
5108:
5088:
5082:
5081:
5079:
5078:
5064:
5058:
5057:
5055:
5053:
5044:. Archived from
5034:
5028:
5027:
5025:
5023:
5003:
4997:
4996:
4994:
4992:
4975:
4969:
4968:
4951:(1/2): 233–245.
4938:
4932:
4931:
4929:
4927:
4910:
4904:
4903:
4901:
4899:
4887:(October 2012).
4881:
4875:
4874:
4872:
4870:
4854:
4848:
4847:
4826:
4820:
4819:
4798:
4792:
4791:
4789:
4787:
4776:
4770:
4769:
4767:
4765:
4759:
4744:
4731:
4725:
4724:
4716:
4710:
4709:
4697:
4691:
4684:
4678:
4677:
4648:Leabhart, Thomas
4644:
4638:
4637:
4626:
4620:
4619:
4617:
4615:
4609:
4598:
4590:
4584:
4583:
4553:
4547:
4546:
4516:
4507:
4506:
4491:Dr. Sky (2014).
4488:
4467:
4466:
4464:
4462:
4448:
4442:
4441:
4426:
4420:
4413:
4407:
4406:
4388:
4382:
4381:
4379:
4378:
4367:
4361:
4353:
4335:
4320:
4314:
4308:
4307:
4305:
4297:
4291:
4285:
4279:
4278:
4276:
4274:
4260:
4251:
4250:
4242:
4231:
4230:
4222:
4216:
4215:
4197:
4166:
4165:
4153:
4147:
4146:
4144:
4142:
4127:
4121:
4120:
4109:
4098:
4097:
4095:
4093:
4078:
4065:
4064:
4062:
4060:
4042:
4036:
4035:
4027:
3994:
3988:
3979:
3973:
3967:
3966:
3948:
3942:
3934:
3925:
3919:
3906:
3900:
3894:
3893:
3873:
3844:
3843:
3841:
3839:
3828:"Nôgaku theatre"
3824:
3811:
3810:
3798:
3795:Japanese Theatre
3788:
3770:Theatre of Japan
3446:Mae J. Smethurst
3352:The Prodigal Son
3335:Benjamin Britten
3254:Physical theatre
3065:The Tippling Elf
3039:Sekidera Komachi
2912:
2911:
2606:(hip drum), and
2446:Muromachi period
2235:
2226:
2216:
2211:Noh mask of the
2208:
2195:Noh mask of the
2192:
2179:Noh mask of the
2176:
2163:Noh mask of the
2160:
2150:
2145:Noh mask of the
2142:
2129:Noh mask of the
2126:
2113:Noh mask of the
2110:
2097:Noh mask of the
2094:
2075:Noh mask of the
2072:
1948:
1946:
1945:
1939:
1933:
1931:
1923:
1922:
1915:
1914:
1911:
1903:
1902:
1895:
1893:
1892:
1886:
1880:
1879:
1876:
1868:
1867:
1860:
1858:
1850:
1849:
1671:Konparu Zenchiku
1590:
1304:Konparu Zenchiku
1287:(1336 to 1573),
1285:Muromachi period
1257:
1249:Muromachi period
1143:
1114:
1113:
1102:
1100:
1099:
1093:
986:
980:
974:
973:
953:
946:
939:
925:Japan portal
923:
922:
921:
272:Zainichi Koreans
235:Military history
220:Imperial history
201:Economic history
169:
160:
158:Culture of Japan
144:
143:
138:
58:
35:
34:
5454:
5453:
5449:
5448:
5447:
5445:
5444:
5443:
5419:Dances of Japan
5404:
5403:
5389:Buddhism in Noh
5339:Wayback Machine
5323:
5314:
5305:J. Thomas Rimer
5290:
5200:
5198:Further reading
5195:
5185:
5183:
5182:on 14 June 2020
5170:
5169:
5165:
5143:The Iowa Review
5131:
5127:
5116:
5112:
5105:
5089:
5085:
5076:
5074:
5066:
5065:
5061:
5051:
5049:
5036:
5035:
5031:
5021:
5019:
5004:
5000:
4990:
4988:
4976:
4972:
4939:
4935:
4925:
4923:
4911:
4907:
4897:
4895:
4882:
4878:
4868:
4866:
4856:
4855:
4851:
4844:
4827:
4823:
4816:
4799:
4795:
4785:
4783:
4778:
4777:
4773:
4763:
4761:
4757:
4742:
4732:
4728:
4717:
4713:
4698:
4694:
4685:
4681:
4645:
4641:
4627:
4623:
4613:
4611:
4610:on 24 July 2015
4607:
4596:
4592:
4591:
4587:
4554:
4550:
4543:
4517:
4510:
4503:
4489:
4470:
4460:
4458:
4450:
4449:
4445:
4427:
4423:
4414:
4410:
4403:
4389:
4385:
4376:
4374:
4369:
4368:
4364:
4350:
4336:
4323:
4315:
4311:
4303:
4299:
4298:
4294:
4286:
4282:
4272:
4270:
4262:
4261:
4254:
4243:
4234:
4223:
4219:
4212:
4198:
4169:
4159:
4154:
4150:
4140:
4138:
4128:
4124:
4117:www.the-noh.com
4111:
4110:
4101:
4091:
4089:
4079:
4068:
4058:
4056:
4049:
4044:
4043:
4039:
4028:
3997:
3989:
3982:
3974:
3970:
3963:
3949:
3945:
3935:
3928:
3920:
3909:
3903:Konparu school.
3901:
3897:
3890:
3874:
3847:
3837:
3835:
3826:
3825:
3814:
3807:
3789:
3782:
3778:
3756:
3747:metsuke-bashira
3676:
3632:
3570:means old, and
3496:
3459:
3437:
3369:. According to
3305:
3288:Thornton Wilder
3139:
3131:
3011:The Well Cradle
2957:The Damask Drum
2903:
2896:
2889:
2730:
2708:
2641:
2632:
2572:Japanese poetry
2520:
2518:Chant and music
2480:
2397:
2355:Tōson Shimazaki
2276:metsuke-bashira
2244:
2237:
2227:
2218:
2209:
2200:
2193:
2184:
2177:
2168:
2161:
2152:
2143:
2134:
2127:
2118:
2111:
2102:
2095:
2086:
2073:
1979:
1967:
1940:
1937:nōkan or nohkan
1917:
1912:
1897:
1887:
1877:
1862:
1844:
1804:(脇連れ, ワキヅレ) or
1689:; front right:
1679:
1611:
1584:
1575:
1506:The concept of
1504:
1498:
1468:
1383:
1335:
1281:
1273:Main articles:
1271:
1255:
1224:Yamato Province
1197:Studies on the
1137:
1094:
1082:
1055:
966:
957:
919:
917:
910:
909:
900:
899:
890:
889:
885:National anthem
870:
869:
858:
857:
828:
827:
816:
815:
766:
765:
754:
753:
709:
708:
697:
696:
672:
671:
669:performing arts
656:
655:
636:
635:
624:
623:
599:
598:
587:
586:
562:
561:
550:
549:
505:
504:
493:
492:
473:
472:
461:
460:
436:
435:
420:
419:
361:
360:
349:
348:
309:
308:
297:
296:
262:
261:
250:
249:
181:
180:
156:
86:Performing arts
68:
67:
63:performance at
49:
31:
24:
17:
12:
11:
5:
5452:
5442:
5441:
5436:
5431:
5426:
5421:
5416:
5402:
5401:
5395:
5386:
5380:
5375:
5369:
5364:
5358:
5353:
5348:
5342:
5329:
5321:
5313:
5312:External links
5310:
5309:
5308:
5297:Zeami Motokiyo
5294:
5288:
5273:
5247:
5225:
5218:
5211:Brazell, Karen
5208:
5199:
5196:
5194:
5193:
5163:
5125:
5110:
5103:
5083:
5059:
5029:
5007:Anderson, Jack
4998:
4970:
4957:10.2307/832944
4933:
4905:
4876:
4849:
4842:
4821:
4814:
4793:
4771:
4726:
4711:
4692:
4679:
4660:(4): 315–330.
4639:
4621:
4585:
4566:(2): 122–131.
4548:
4541:
4508:
4502:978-1626528222
4501:
4468:
4443:
4421:
4408:
4401:
4383:
4362:
4348:
4321:
4317:Eckersley 2009
4309:
4292:
4280:
4252:
4232:
4217:
4210:
4167:
4148:
4122:
4099:
4066:
4037:
3995:
3980:
3968:
3961:
3943:
3926:
3907:
3895:
3888:
3845:
3812:
3805:
3779:
3777:
3774:
3773:
3772:
3767:
3762:
3755:
3752:
3675:
3672:
3631:
3628:
3627:
3626:
3618:
3602:
3594:
3576:
3559:
3536:
3495:
3492:
3491:
3490:
3458:
3455:
3454:
3453:
3436:
3433:
3432:
3431:
3424:Iannis Xenakis
3421:
3409:
3380:
3374:
3356:
3332:
3304:
3301:
3300:
3299:
3285:
3264:Eugene O'Neill
3261:
3247:
3237:
3222:Jacques Copeau
3219:
3203:
3191:
3176:Bertolt Brecht
3173:
3161:Samuel Beckett
3158:
3138:
3135:
3130:
3127:
3124:
3123:
3120:
3117:
3114:
3106:
3105:
3102:
3099:
3096:
3088:
3087:
3084:
3081:
3078:
3075:Sotoba Komachi
3070:
3069:
3066:
3063:
3060:
3052:
3051:
3048:
3045:
3042:
3034:
3033:
3030:
3027:
3024:
3016:
3015:
3012:
3009:
3006:
2998:
2997:
2994:
2991:
2988:
2980:
2979:
2976:
2973:
2970:
2962:
2961:
2958:
2955:
2952:
2949:Aya no Tsuzumi
2944:
2943:
2940:
2937:
2934:
2926:
2925:
2922:
2919:
2916:
2888:
2885:
2867:
2866:
2851:
2844:Aya no tsuzumi
2836:vengeful ghost
2824:
2802:
2776:
2745:New Year's Day
2729:
2726:
2725:
2724:
2718:
2707:
2704:
2688:
2687:
2669:
2655:
2640:
2637:
2631:
2628:
2519:
2516:
2479:
2476:
2396:
2393:
2334:metsukebashira
2243:
2240:
2239:
2238:
2228:
2221:
2219:
2210:
2203:
2201:
2194:
2187:
2185:
2178:
2171:
2169:
2162:
2155:
2153:
2144:
2137:
2135:
2131:chorei-beshimi
2128:
2121:
2119:
2112:
2105:
2103:
2096:
2089:
2087:
2074:
2067:
2059:belong to the
2049:Prince Shōtoku
1978:
1975:
1966:
1963:
1951:
1950:
1831:
1815:
1814:
1813:
1789:
1788:
1787:
1781:
1775:
1678:
1675:
1610:
1607:
1574:
1571:
1500:Main article:
1497:
1492:
1467:
1464:
1382:
1379:
1334:
1331:
1293:Zeami Motokiyo
1275:Zeami Motokiyo
1270:
1267:
1081:
1078:
1054:
1051:
1035:presentation.
959:
958:
956:
955:
948:
941:
933:
930:
929:
928:
927:
912:
911:
908:
907:
901:
897:
896:
895:
892:
891:
888:
887:
882:
877:
871:
865:
864:
863:
860:
859:
856:
855:
850:
845:
840:
835:
829:
823:
822:
821:
818:
817:
814:
813:
808:
803:
798:
793:
788:
783:
778:
773:
767:
761:
760:
759:
756:
755:
752:
751:
746:
741:
736:
731:
726:
721:
716:
710:
704:
703:
702:
699:
698:
695:
694:
689:
684:
679:
673:
663:
662:
661:
658:
657:
654:
653:
648:
643:
637:
631:
630:
629:
626:
625:
622:
621:
616:
611:
606:
600:
594:
593:
592:
589:
588:
585:
584:
579:
574:
569:
563:
557:
556:
555:
552:
551:
548:
547:
542:
537:
532:
527:
522:
517:
512:
506:
500:
499:
498:
495:
494:
491:
490:
485:
480:
474:
468:
467:
466:
463:
462:
459:
458:
453:
448:
443:
437:
427:
426:
425:
422:
421:
418:
417:
412:
407:
398:
393:
388:
383:
378:
373:
368:
362:
356:
355:
354:
351:
350:
347:
346:
341:
339:Writing system
336:
331:
326:
321:
316:
310:
304:
303:
302:
299:
298:
295:
294:
289:
284:
279:
274:
269:
263:
257:
256:
255:
252:
251:
248:
247:
242:
237:
232:
230:Historiography
227:
222:
217:
212:
203:
198:
193:
188:
182:
176:
175:
174:
171:
170:
162:
161:
153:
152:
140:
139:
131:
130:
129:Representative
127:
121:
120:
117:
113:
112:
108:
107:
102:
98:
97:
92:
88:
87:
84:
80:
79:
74:
70:
69:
59:
51:
50:
43:
40:
39:
38:Nōgaku Theater
15:
9:
6:
4:
3:
2:
5451:
5440:
5437:
5435:
5432:
5430:
5427:
5425:
5422:
5420:
5417:
5415:
5412:
5411:
5409:
5399:
5396:
5394:
5390:
5387:
5384:
5381:
5379:
5376:
5373:
5370:
5368:
5365:
5362:
5359:
5357:
5354:
5352:
5349:
5346:
5343:
5340:
5336:
5333:
5330:
5326:
5322:
5319:
5316:
5315:
5306:
5302:
5298:
5295:
5291:
5285:
5281:
5280:
5274:
5271:
5267:
5263:
5262:4-8053-1033-2
5259:
5255:
5251:
5250:Waley, Arthur
5248:
5245:
5244:0-14-044539-0
5241:
5237:
5236:Penguin Books
5233:
5229:
5228:Tyler, Royall
5226:
5223:
5219:
5216:
5212:
5209:
5206:
5202:
5201:
5181:
5177:
5173:
5167:
5158:
5153:
5149:
5145:
5144:
5139:
5135:
5129:
5121:
5114:
5106:
5100:
5096:
5095:
5087:
5073:
5069:
5063:
5048:on 2015-09-05
5047:
5043:
5039:
5033:
5018:
5017:
5012:
5008:
5002:
4987:
4986:
4981:
4974:
4966:
4962:
4958:
4954:
4950:
4946:
4945:
4937:
4922:
4921:
4916:
4909:
4894:
4890:
4886:
4880:
4865:
4864:
4859:
4853:
4845:
4839:
4835:
4831:
4825:
4817:
4815:9781843833826
4811:
4807:
4803:
4797:
4781:
4775:
4760:on 2016-03-04
4756:
4752:
4748:
4741:
4739:
4730:
4722:
4715:
4707:
4703:
4696:
4689:
4686:Collasse, R.
4683:
4675:
4671:
4667:
4663:
4659:
4655:
4654:
4649:
4643:
4635:
4631:
4630:Willett, John
4625:
4606:
4602:
4595:
4589:
4581:
4577:
4573:
4569:
4565:
4561:
4560:
4552:
4544:
4538:
4534:
4530:
4526:
4522:
4515:
4513:
4504:
4498:
4494:
4487:
4485:
4483:
4481:
4479:
4477:
4475:
4473:
4457:
4453:
4447:
4439:
4435:
4431:
4425:
4418:
4412:
4404:
4398:
4394:
4387:
4372:
4366:
4360:
4356:
4351:
4349:0-674-01397-2
4345:
4341:
4334:
4332:
4330:
4328:
4326:
4319:, p. 47.
4318:
4313:
4302:
4296:
4289:
4284:
4269:
4265:
4259:
4257:
4248:
4247:能・狂言を学ぶ人のために
4241:
4239:
4237:
4228:
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3404:by Zeami and
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3250:Jacques Lecoq
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3143:Eugenio Barba
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2403:Noh Costume (
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2272:shite-bashira
2269:
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2256:
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2016:
2012:
2008:
1998:
1991:
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1983:
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1705:(stage hands)
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1661:Nōgaku Kyōkai
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1308:waka (poetry)
1305:
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1216:Kasuga-taisha
1213:
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1200:
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984:
983:Sino-Japanese
979:
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940:
935:
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926:
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898:Organisations
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577:New religions
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541:
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535:Shichi-Go-San
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451:Urban legends
449:
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240:Naval history
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62:
57:
52:
48:
47:
41:
36:
33:
29:
22:
5393:Royall Tyler
5300:
5278:
5253:
5231:
5221:
5214:
5204:
5184:. Retrieved
5180:the original
5175:
5166:
5150:(2): 34–50.
5147:
5141:
5128:
5119:
5113:
5093:
5086:
5075:. Retrieved
5071:
5062:
5050:. Retrieved
5046:the original
5041:
5032:
5020:. Retrieved
5014:
5001:
4989:. Retrieved
4983:
4973:
4948:
4942:
4936:
4924:. Retrieved
4920:The Guardian
4918:
4908:
4896:. Retrieved
4892:
4879:
4867:. Retrieved
4863:The Scotsman
4861:
4852:
4833:
4824:
4805:
4796:
4784:. Retrieved
4774:
4762:. Retrieved
4755:the original
4750:
4746:
4737:
4729:
4720:
4714:
4705:
4701:
4695:
4687:
4682:
4657:
4651:
4642:
4633:
4624:
4612:. Retrieved
4605:the original
4600:
4588:
4563:
4559:Modern Drama
4557:
4551:
4524:
4520:
4492:
4459:. Retrieved
4455:
4446:
4437:
4424:
4416:
4411:
4392:
4386:
4375:. Retrieved
4365:
4339:
4312:
4295:
4288:Other Roles.
4283:
4271:. Retrieved
4267:
4246:
4226:
4220:
4201:
4161:
4151:
4139:. Retrieved
4135:
4125:
4116:
4090:. Retrieved
4086:
4057:. Retrieved
4052:
4040:
4031:
3991:Noh schools.
3971:
3952:
3946:
3898:
3878:
3836:. Retrieved
3831:
3794:
3746:
3744:
3733:
3729:
3719:
3713:
3703:
3698:
3694:
3690:
3688:
3677:
3637:
3633:
3621:
3620:
3614:
3610:
3605:
3604:
3597:
3596:
3585:
3584:
3579:
3578:
3571:
3567:
3562:
3561:
3554:
3548:
3544:
3539:
3538:
3532:
3528:
3524:
3520:
3516:
3512:
3508:
3503:
3502:
3497:
3486:
3482:
3478:
3472:
3466:
3427:
3415:
3405:
3401:
3397:
3392:The Guardian
3390:
3386:
3383:Harry Partch
3350:
3346:Curlew River
3344:
3338:
3328:
3327:(1935), and
3324:
3320:
3316:
3312:
3295:
3291:
3279:
3273:
3267:
3244:Deguchinashi
3243:
3230:Suzanne Bing
3225:
3213:
3210:John Willett
3206:Paul Claudel
3197:
3187:
3183:
3179:
3168:
3164:
3132:
3122:2 (warrior)
3109:
3091:
3073:
3055:
3037:
3019:
3001:
2983:
2965:
2947:
2929:
2904:
2887:Famous plays
2876:
2870:
2868:
2861:
2857:
2853:
2847:
2843:
2839:
2831:
2827:
2820:
2816:
2812:
2808:
2805:Katsura mono
2804:
2798:
2794:
2790:
2782:
2778:
2773:Chikubushima
2772:
2768:
2763:
2759:
2755:
2749:
2740:
2736:
2720:
2714:
2709:
2695:
2691:
2689:
2683:
2679:
2671:
2661:
2657:
2651:
2642:
2633:
2623:
2620:
2613:
2607:
2601:
2595:
2591:
2587:
2583:
2579:
2575:
2563:
2558:
2555:
2548:
2542:
2541:(hip drum),
2536:
2530:
2527:Hayashi-kata
2526:
2511:
2508:
2503:
2496:
2494:
2487:
2481:
2471:
2467:
2461:
2455:
2452:
2450:
2441:
2438:
2433:
2429:
2425:
2421:
2417:
2415:
2404:
2388:
2378:
2373:
2369:
2367:
2358:
2348:
2346:
2341:
2337:
2333:
2330:shitebashira
2329:
2327:
2316:
2310:
2303:
2298:
2294:
2288:
2283:
2280:waki-bashira
2279:
2275:
2271:
2267:
2263:
2259:
2196:
2180:
2164:
2148:hakushiki-jō
2130:
2114:
2098:
2076:
2052:
2045:
2041:
2036:
2032:
2018:
2014:
2010:
2004:
1989:
1985:
1968:
1958:
1954:
1952:
1838:hayashi-kata
1837:
1833:
1827:
1823:
1817:
1809:
1805:
1801:
1795:
1791:
1783:
1777:
1771:
1767:
1763:
1759:
1755:
1751:
1745:
1741:
1737:
1733:
1729:
1722:
1718:
1714:
1710:
1708:
1702:
1699:hayashi-kata
1698:
1694:
1690:
1686:
1664:
1660:
1658:
1653:
1649:
1645:
1641:
1637:
1615:
1612:
1604:
1592:
1566:
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1558:
1553:
1545:
1541:
1537:
1533:
1532:
1525:
1521:
1517:
1513:
1507:
1505:
1494:
1469:
1466:Women in Noh
1458:
1453:
1449:
1445:
1441:
1437:
1435:
1426:
1414:
1412:
1395:
1368:
1361:
1354:
1348:
1342:
1336:
1333:Tokugawa era
1322:
1319:Hōshō school
1315:Kanze school
1312:
1302:
1291:and his son
1282:
1259:
1252:
1230:
1228:
1211:
1196:
1191:
1185:
1179:
1173:
1167:
1161:
1155:
1151:
1146:
1133:
1129:
1127:
1120:
1116:
1104:
1083:
1072:
1044:
1037:
1032:
1028:
1024:
1020:
1016:
1010:
1006:
1000:
995:and his son
963:
962:
880:Coat of arms
838:Architecture
786:Martial arts
691:
572:Christianity
478:Food history
410:Tea ceremony
403: /
191:Demographics
60:
44:
32:
5186:14 December
5052:14 December
5022:14 December
4991:14 December
4926:13 December
4898:13 December
4869:13 December
4764:10 December
4708:(1/2): 143.
4614:10 December
4527:: 257–267.
4461:21 November
4430:Pound, Ezra
4290:The Noh.com
4059:21 November
3924:The Noh.com
3922:Shite-kata.
3905:The Noh.com
3838:21 November
3732:ceremonial
3691:hashigakari
3660:Taka no Kai
3622:Kabu-isshin
3463:W. B. Yeats
3435:Classicists
3359:David Byrne
3349:(1964) and
3292:Three Plays
3228:along with
3199:The Tempest
3194:Peter Brook
3180:Der Jasager
3151:Hisao Kanze
3147:Hideo Kanze
3101:At Takasago
2975:Dōjō Temple
2865:categories.
2840:genzai mono
2828:kyōran mono
2597:shime-daiko
2564:Noh-bayashi
2514:interlude.
2374:Hashigakari
2370:hashigakari
2338:wakibashira
2284:fue-bashira
1746:nochi-shite
1585: [
1582:Kanze Sakon
1470:During the
1391:Ogata Gekkō
1337:During the
1169:shirabyōshi
1138: [
806:Rugby union
749:Pornography
744:Video games
641:Light novel
520:Hinamatsuri
483:Ingredients
116:Inscription
5408:Categories
5372:nohmask.jp
5077:2023-01-15
4843:0571143245
4377:2018-01-18
4158:能、世阿弥の「現在」
4092:25 January
4032:能・狂言の基礎知識
3776:References
3721:makunouchi
3442:Akiko Kiso
3377:Alan Watts
3367:naturalism
3256:taught at
3104:1 (deity)
3086:3 (woman)
3068:5 (demon)
3050:3 (woman)
3032:3 (woman)
3014:3 (woman)
2996:3 (woman)
2978:4 (misc.)
2960:4 (misc.)
2942:4 (misc.)
2832:onryō mono
2783:ashura Noh
2779:Shura mono
2737:Okina hōnō
2700:flashbacks
2666:non-linear
2562:ensemble (
2468:kami-shimo
2359:kagami-ita
2342:fuebashira
2318:kagura-den
2270:spot. 12:
2266:spot. 11:
2262:seat. 10:
1861:, hip drum
1806:Waki-tsure
1768:shitetsure
1760:shitetsure
1752:Shitetsure
1732:(仕手, シテ).
1632:(金剛), and
1476:courtesans
1472:Edo period
1339:Edo period
796:Ice hockey
791:Basketball
719:Television
633:Literature
358:Traditions
292:Ryukuyuans
215:Healthcare
4885:Kun, Josh
4674:193218129
4580:194031745
4046:"Nôgaku"
3993:Wagokoro.
3742:rituals.
3680:Surtitles
3642:(Tokyo),
3575:imitated.
3487:Purgatory
3321:Hatsuyuki
3303:Composers
3021:Matsukaze
2931:Aoi no Ue
2924:Category
2821:Matsukaze
2809:onna mono
2756:Kami mono
2618:flutist.
2609:kotsuzumi
2544:kotsuzumi
2430:wakizure,
2380:hanamichi
2214:wakaotoko
1908:kotsuzumi
1802:Wakitsure
1772:wakitsure
1742:mae-shite
1554:jo-ha-kyū
1534:Jo-ha-kyū
1509:jo-ha-kyū
1502:Jo-ha-kyū
1495:Jo-ha-kyū
1480:Meiji era
1404:Meiji era
1237:shogunate
1220:Kofuku-ji
1199:genealogy
1184:(ancient
825:Monuments
734:Media mix
687:Kayōkyoku
502:Festivals
456:Folktales
429:Mythology
371:Etiquette
306:Languages
206:Education
186:Era names
91:Reference
5335:Archived
5299:(1984).
5252:(2009).
5234:London:
5213:(1998).
5136:(1985).
4832:(1992).
4804:(2008).
4786:29 March
4738:Our Town
4632:(1959).
4436:(1959).
3834:. UNESCO
3754:See also
3684:libretto
3611:Monomane
3606:Monomane
3509:Kadensho
3440:Scholar
3402:Atsumori
3371:Josh Kun
3329:Kageyiko
3323:(1934),
3319:(1926),
3315:(1925),
3296:Our Town
3252: –
3119:Yorimasa
3111:Yorimasa
3093:Takasago
2985:Hagoromo
2939:Lady Aoi
2909:school.
2875:(翁) (or
2858:oni mono
2854:Kiri Noh
2838:plays),
2799:Atsumori
2769:Takasago
2760:waki Noh
2643:All Noh
2603:ōtsuzumi
2538:ōtsuzumi
2453:montsuki
2434:aikyōgen
2432:and the
2406:Kariginu
2395:Costumes
2307:pavilion
2299:honbutai
2115:ayahashi
1957:and one
1873:ōtsuzumi
1836:(囃子) or
1824:aikyōgen
1770:and the
1609:Training
1323:sarugaku
1241:Kamakura
1212:sarugaku
1163:sarugaku
1122:sarugaku
1063:Miyajima
1049:system.
811:Olympics
776:Baseball
567:Buddhism
559:Religion
530:Tanabata
433:folklore
396:Marriage
376:Funerals
366:Clothing
324:Ryukyuan
319:Japanese
267:Japanese
149:a series
147:Part of
5303:Trans.
3765:Shuhari
3730:o-miki,
3715:wagashi
3699:Kokaji,
3664:Fukuoka
3658:), and
3355:(1968).
3331:(1936).
3313:Komachi
3226:Kantan,
2921:Meaning
2877:Kamiuta
2791:samurai
2672:Ryōkake
2639:Subject
2592:hayashi
2559:hayashi
2444:in the
2442:samurai
2418:shozoku
2181:shikami
2099:akobujō
2029:demonic
1961:actor.
1834:Hayashi
1756:shite's
1723:hayashi
1626:Komparu
1459:sangaku
1448:plays.
1350:daimyōs
1279:Kan'ami
1232:samurai
1157:dengaku
1152:sangaku
1147:sangaku
1135:sangaku
1080:Origins
1073:Karaori
1053:History
993:Kan'ami
905:Museums
867:Symbols
614:Ikebana
609:Gardens
470:Cuisine
441:Deities
391:Wasōbon
329:Hachijō
314:Japonic
178:History
83:Domains
73:Country
5286:
5268:
5260:
5242:
5101:
4965:832944
4963:
4840:
4812:
4672:
4578:
4539:
4499:
4399:
4346:
4273:Nov 8,
4208:
4141:Nov 8,
3959:
3886:
3803:
3740:Shinto
3712:, and
3710:coffee
3591:mushin
3580:Kokoro
3566:(老弱):
3563:Rōjaku
3485:, and
3281:Hughie
3278:, and
3184:Taniko
3003:Izutsu
2967:Dōjōji
2881:Shinto
2848:Kinuta
2834:(怨霊物,
2795:Tamura
2692:Genzai
2690:While
2680:Genzai
2676:hybrid
2652:Genzai
2615:nohkan
2590:, Noh
2580:Kataru
2512:kyōgen
2504:kuroko
2498:kuroko
2472:hakama
2463:hakama
2457:kimono
2426:tsure,
2385:Kabuki
2350:hinoki
2323:Shinto
2312:haiden
2282:. 15:
2278:. 14:
2274:. 13:
2078:hannya
2025:divine
2020:hinoki
2011:nō-men
2001:moved.
1971:Shinto
1828:Kyōgen
1819:Kyōgen
1784:Jiutai
1721:, and
1719:kyōgen
1695:jiutai
1666:iemoto
1654:kyōgen
1646:iemoto
1642:iemoto
1628:(金春),
1624:(宝生),
1620:(観世),
1601:school
1527:gagaku
1454:kyōgen
1450:Kyōgen
1446:kyōgen
1442:nōgaku
1438:nōgaku
1427:nōgaku
1417:as an
1415:nōgaku
1362:joruri
1356:kabuki
1344:shōgun
1260:shōgun
1253:shōgun
1192:kyōgen
1187:Shinto
1181:kagura
1175:gagaku
1130:kyōgen
1117:nōgaku
1046:iemoto
1033:nōgaku
1025:kyōgen
1021:kyōgen
1017:nōgaku
1012:kyōgen
1007:nōgaku
1002:nōgaku
724:Cinema
682:Anison
651:Poetry
604:Bonsai
582:Shinto
488:Dishes
415:Values
386:Geisha
287:Yamato
259:People
151:on the
101:Region
4961:JSTOR
4758:(PDF)
4743:(PDF)
4670:S2CID
4608:(PDF)
4597:(PDF)
4576:S2CID
4304:(PDF)
4160:[
3725:bentō
3695:shite
3652:Kyoto
3615:yūgen
3558:loss.
3555:yūgen
3545:Yūgen
3540:Yūgen
3457:Poets
3417:Licht
3406:Ikuta
3172:did."
3080:卒都婆小町
3057:Shōjō
2918:Kanji
2907:Kanze
2872:Okina
2862:shite
2817:Basho
2813:shite
2764:shite
2743:) on
2728:Theme
2721:Furyū
2696:Mugen
2684:Mugen
2662:shite
2658:Mugen
2645:plays
2630:Plays
2624:mugen
2568:opera
2550:flute
2532:taiko
2478:Props
2422:shite
2389:michi
2321:) of
2295:butai
2291:stage
2268:shite
2242:Stage
2165:shōjō
2037:tsure
2033:shite
2015:omote
2013:or 面
2007:masks
1990:shōjō
1977:Masks
1955:shite
1928:taiko
1884:ōkawa
1842:flute
1796:shite
1778:Kōken
1764:tsure
1738:shite
1734:Shite
1730:Shite
1711:shite
1703:kōken
1687:shite
1677:Roles
1638:shite
1630:Kongō
1622:Hōshō
1618:Kanze
1599:Kanze
1597:) of
1589:]
1550:below
1408:Osaka
1256:'
1245:Kyoto
1239:from
1142:]
1086:kanji
1029:Okina
997:Zeami
989:drama
763:Sport
729:Anime
714:Radio
706:Media
677:J-pop
665:Music
646:Manga
405:Sentō
401:Onsen
381:Games
77:Japan
5284:ISBN
5266:ISBN
5258:ISBN
5240:ISBN
5188:2014
5099:ISBN
5054:2014
5024:2014
4993:2014
4928:2014
4900:2014
4871:2014
4838:ISBN
4810:ISBN
4788:2015
4766:2014
4616:2014
4537:ISBN
4497:ISBN
4463:2019
4397:ISBN
4344:ISBN
4275:2014
4206:ISBN
4143:2014
4094:2023
4061:2019
3957:ISBN
3884:ISBN
3840:2019
3801:ISBN
3735:sake
3656:Nara
3586:shin
3572:jaku
3550:waka
3533:hana
3529:hana
3525:Hana
3521:hana
3517:hana
3513:hana
3504:Hana
3169:Kami
3149:and
3044:関寺小町
2915:Name
2715:Geki
2686:Noh.
2588:utai
2576:Utai
2428:the
2363:pine
2264:waki
2260:waki
2232:Inro
2009:(能面
2005:Noh
1959:waki
1810:waki
1792:Waki
1715:waki
1691:waki
1650:Waki
1634:Kita
1594:sōke
1359:and
1277:and
1218:and
1105:gaku
1088:for
1084:The
875:Flag
771:Sumo
667:and
510:Obon
431:and
334:Ainu
277:Ainu
125:List
5414:Noh
5391:by
5152:doi
4953:doi
4662:doi
4568:doi
4529:doi
4359:p14
4355:p11
3706:tea
3598:Myō
3583:or
3232:at
2972:道成寺
2489:obi
2484:fan
2383:in
2197:uba
2027:or
1881:or
1855:fue
1567:kyū
1546:kyū
1522:kyū
1243:to
1222:in
1132:is
1091:Noh
964:Noh
692:Noh
596:Art
61:Noh
5410::
5264:,
5238:.
5174:.
5148:15
5146:.
5140:.
5070:.
5040:.
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4982:.
4959:.
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4751:13
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4668:.
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4599:.
4574:.
4564:11
4562:.
4535:.
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4432:;
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4266:.
4255:^
4235:^
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4102:^
4085:.
4069:^
4051:.
4048:能楽
3998:^
3983:^
3929:^
3910:^
3848:^
3830:.
3815:^
3783:^
3723:'
3708:,
3568:Rō
3553:,
3481:,
3477:,
3272:,
3242:-
3116:頼政
3098:高砂
3062:猩々
3026:松風
3008:井筒
2990:羽衣
2954:綾鼓
2936:葵上
2846:,
2819:,
2797:,
2771:,
2626:.
2600:,
2584:ma
2535:,
2436:.
1986:Nō
1944:能管
1924:,
1921:太鼓
1904:,
1901:小鼓
1891:大皮
1869:,
1866:大鼓
1851:,
1798:.
1748:.
1725:.
1717:,
1713:,
1587:ja
1569:.
1563:ha
1559:jo
1542:ha
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1226:.
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1140:ja
978:Nō
975:,
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1947:)
1941:(
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1918:(
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1898:(
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1888:(
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1863:(
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1848:笛
1845:(
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1111:楽
1107:(
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1098:能
1095:(
971:能
967:(
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