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Noh is a classical Japanese performance form which combines elements of dance, drama, music and poetry into one highly aesthetic stage art. Largely based in the cities of Tokyo, Osaka, and Kyoto, it is performed throughout the country by professional artists, mainly men, who have passed down the art among family members for numerous generations. There is also a wide following of both male and female amateurs who practice and perform its chant, dance, and instruments Kyogen is the classical comic theater which balances the more serious Noh. While Noh is musical in nature, Kyogen emphasizes dialogue. The two are traditionally performed alternately on the same program and they share a common heritage.
In addition to their own Kyogen repertoire of comic plays, Kyogen actors usually appear in interlude roles in Noh plays. Similarly, Noh instrumentalists also sometimes appear in Ky gen plays. The training methods of the two forms are also similar. Noh developed into its present form during the 14 th and 15 th centuries under the leadership of the distinguished performer -playwrights Kannami and his son Zeami. Zeami, in particular, wrote numerous plays which are still performed in today's classical report-tory of some 250 plays. He also wrote a number of secret works which explain the aesthetic principles governing Noh and give details on how the art should be composed, acted, directed, taught, and produced.
Noh flourished during Zeami's time under the patronage of the mili-tary shogun Ashikaga Yoshimitsu. Later during the Edo period (1603 - 1868), Noh became the official performance art of the military government. Feudal military lords throughout the country supported their own troupes and many studied and performed the art themselves. With the societal reforms of the Meiji period (1868 - 1912), Noh lost its govern mental patronage and was left to fend for itself.
Although it nearly died out, enough performers regrouped, found private spon-sors, and began teaching the art to amateurs so that it slowly began to flourish again. Today, like many classical performance forms throughout the world, Noh cannot be described as a popular art among the Japanese people as a whole. Yet its supporters are enthusiastic and its professional per-formers are highly trained and extremely busy performing and teaching throughout the country. There are today approximately 1, 500 professional performers who make their living largely through performing and teaching Noh. There are five categories of Noh plays. In order, these feature gods, warriors, beautiful women, miscellaneous (notably mad-women or present-time) figures, and supernatural beings.
During the Edo period, a full day's program consisted of the ritual piece Okina-Sanbaso followed by one play from each category in the above order. One Kyogen play would be presented between each Noh. Of the five categories, the women plays are the slowest in tempo but the most poetic, and of the highest level in expressing kyogen, an aesthetic term suggesting quiet elegance and grace, and subtle and fleeting beauty. The main character of a Noh play is called the censored e (pronounced sh " tay) who sometimes appears with one or more companion char-after called there.
In many plays, the censored e appears in the first half as an ordinary person, departs, then appears in the second half in his true form as the ghost of famous person of long ago. The former is called the marmite and the latter the nochijite. They are traditionally performed by the same actor. The secondary actor, the was, is often a travelling priest whose questioning of the main character is important in developing the story line.
He also often appears with companion was-there. An interlude actor called ai or ai-kyogen also often appears as a local person who gives further background to the was, and thus to the audience, in order to understand the situation of the censored e A chorus called jintao, usually consisting of eight persons, sits at the side of the stage and functions to narrate the background and the story itself. It also sometimes describes the character's thoughts and emotions or even sings lines for the ch Bibliography:
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