Noh is a traditional form of Japanese theater that has been performed for over 600 years. It combines drama, dance, and music to create a unique and highly stylized performance. Known for its slow, deliberate movements, minimalistic sets, and the use of masks, Noh has become one of Japan’s most revered cultural art forms. It continues to captivate audiences with its combination of elegance, spiritual depth, and rich symbolism.
What is Noh?
Noh (also spelled No), meaning “skill” or “talent,” is a classical form of Japanese theater that originated in the 14th century. It is characterized by its use of masks, a distinctive musical accompaniment, and its minimalist staging. Noh performances are slow and symbolic, often focusing on themes of the supernatural, life, death, and human suffering. The actors move with grace and precision, their gestures conveying deep emotions in an abstract way.
The History of Noh
Noh’s origins can be traced back to ancient Shinto rituals and early Japanese folk dances. In the 14th century, the form was formalized by Kan’ami Kiyotsugu and his son Zeami Motokiyo, who are considered the founding fathers of Noh. Under their influence, Noh evolved from simple, religious-based performances into a sophisticated form of theater performed for the aristocracy and the shogunate. By the 15th century, Noh had become the preferred entertainment of the samurai class.
In the Edo period (1603–1868), Noh solidified its place as one of Japan’s elite arts, performed primarily in temples and shrines. Despite its aristocratic roots, Noh is now accessible to a wider audience, with performances held regularly across Japan.
The Stories of Noh
Noh plays are often drawn from classical literature, myths, and legends. They typically explore universal themes such as love, revenge, and the fleeting nature of life. Many Noh plays feature supernatural beings like ghosts, demons, and spirits, reflecting the influence of Shinto and Buddhist beliefs.
The structure of a Noh play follows a specific pattern known as jo-ha-kyū, which consists of a slow introduction (jo), a faster middle section (ha), and a swift conclusion (kyū). The most common types of Noh plays include:
- Mugen Noh (Supernatural Noh): These plays feature spirits or gods as the main characters and often involve dreamlike or mystical experiences.
- Genzai Noh (Realistic Noh): These are more grounded in reality, focusing on human characters and their emotions.
The Music of Noh
Music is an integral part of Noh, guiding the pace, mood, and rhythm of each performance. Noh music is composed of two main elements: Utai (chanting) and hayashi (instrumental ensemble).
Utai (Chanting)
The actors’ chanting, called Utai, is a key aspect of Noh’s music. Utai is not only a narrative tool but also serves to create an emotional atmosphere. It involves both melodic and non-melodic sections and can be compared to Buddhist chants, as it often uses minimalistic melodies to evoke a sense of stillness or tension. The chanting is typically slow, and the syllables are drawn out, contributing to the contemplative mood of the performance.
Utai plays a dual role: it serves as the dialogue between characters and also acts as an emotional commentary on the unfolding action. The actors use their voices to convey not only the plot but also the emotional and spiritual undercurrents of the story.
Hayashi(instrumental ensemble)
Hayashi is the instrumental music used in Noh to accompany the chants and dances, and to accompany the entrance and exit of the performers.
Essential Instruments in a Noh Performance
The hayashi ensemble, comprising four key instruments, accompanies the actors and enhances the emotional depth of the performance. These instruments are collectively known as “shibyōshi” (four beats):
- Nōkan (Flute): The Nōkan is the only wind instrument used in Noh and produces a sharp, piercing sound. It plays an important role in setting the tone of the performance and signaling transitions between different scenes. The Nōkan can produce high, almost shrill notes known as hishigi, which are often used to create tension during dramatic moments.
- Kotsuzumi (Small Hand Drum): The Kotsuzumi is a small hand drum that is placed on the player’s shoulder and struck with the hand. The sound of the Kotsuzumi is soft but sharp, and its pitch can be adjusted by tightening or loosening the cords that hold the drumheads. The Kotsuzumi player also adds vocal calls, known as kakegoe, which punctuate the rhythm and enhance the emotional intensity of the performance(能).
- Ōtsuzumi (Large Hand Drum): Larger than the Kotsuzumi, the Ōtsuzumi is also a hand drum but produces a higher, more intense sound. The player strikes the drumhead with their bare hand, creating a bright, penetrating tone. The Ōtsuzumi is typically used to emphasize important moments in the play, and its clear, resonant sound adds to the dramatic impact of the performance.
- Taiko (Stick Drum): The Taiko is a larger drum played with sticks, adding depth and power to climactic moments in the play. It is not used in every performance, but when it is included, the Taiko plays a central role in building tension and highlighting the emotional peaks of the performance.
These four instruments work together to create the unique soundscape of Noh. The musicians, known as hayashikata, are positioned on stage along with the actors and play an integral role in shaping the overall narrative and emotional journey of the performance.
Noh Actor (Noh-gakushi) / Roles in Noh
In Noh theater, the performers, known as Noh-gakushi, play highly specialized roles that bring the intricate stories of Noh to life. Each role requires years of rigorous training, dedication, and mastery of specific skills. Here is an overview of the primary roles in Noh and their significance:
Shite (Main Role)
The Shite is the central character in a Noh performance, often portraying supernatural beings such as ghosts, spirits, deities, or occasionally humans. Key features of the Shite’s role include:
- Masked Role: The Shite typically wears a mask (Noh-men) to embody the character’s essence, such as a young woman, an old man, or a demon.
- Dual Appearance: In many plays, the Shite first appears as a human-like figure and later reveals their true supernatural form during the second act.
- Responsibility: The Shite delivers the emotional core of the performance, using stylized movements and chants to convey the narrative.
Waki (Supporting Role)
The Waki serves as the foil or counterpart to the Shite, providing context and interaction that propels the story forward. Key aspects include:
- Role as a Witness: The Waki is usually a living character, such as a wandering priest, samurai, or nobleman, who encounters the Shite.
- Unmasked: Unlike the Shite, the Waki performs without a mask, using facial expressions to emphasize the human perspective.
- Grounding Presence: The Waki often represents the audience’s viewpoint, helping to interpret the Shite’s supernatural or symbolic actions.
Tsure (Companion Role)
The Tsure is a supporting character who accompanies either the Shite or Waki.
- Varied Roles: They may represent family members, attendants, or other figures connected to the main narrative.
- Ensemble Interaction: The Tsure’s role complements and enhances the Shite or Waki’s performance, often participating in choral chanting or dancing.
Kokata (Child Role)
The Kokata is a child actor who plays younger characters in the narrative.
- Symbolic Role: Often appearing as the child version of the Shite, the Kokata provides a sense of innocence or vulnerability.
- Unmasked: Like the Waki, the Kokata does not wear a mask and relies on natural expressions to convey emotion.
Additional Noh Roles
Jiutai (Chorus)
The Jiutai, or chorus, consists of eight to ten performers seated at the side of the stage. They narrate the story, provide commentary, and sing parts of the Shite’s or Waki’s lines. Their chanting style enhances the dramatic atmosphere of the performance.
Koken (Stage Assistant)
The Koken is a stage assistant who remains visible to the audience. They handle tasks like adjusting props, replacing masks, or aiding actors if needed, ensuring the seamless flow of the performance.
Hayashi (Musicians)
The Hayashi ensemble includes:
- Nohkan (Flute): Sets the pitch and mood for the performance.
- Kotsuzumi (Small Hand Drum) and Otsuzumi (Large Hand Drum): Add rhythm and dynamic accents.
- Taiko (Stick Drum): Occasionally used to emphasize powerful moments.
The Training and Legacy of Noh-gakushi
Noh actors undergo years of intensive training in singing, dancing, and acting, often starting as children within Noh families or schools. Each role requires mastery of unique techniques, movements, and vocal styles, ensuring the preservation of this centuries-old art form.
Through their dedicated performances, Noh-gakushi not only honor tradition but also continue to evolve the art of Noh, captivating audiences with its timeless beauty and profound spiritual depth.
Noh Masks (Nohmen)
One of the most iconic elements of Noh is the use of masks. These masks, called Nohmen, are intricately crafted and represent different characters, such as gods, demons, women, and elderly men. The masks are minimalist, allowing the actor’s movements and body language to convey emotion. There are over 200 different types of Noh masks, each designed to reflect a specific character type.
Noh Costumes
Noh costumes are elaborate and richly detailed, often made from silk and embroidered with gold or silver thread. The costumes are heavy and layered, contributing to the slow and deliberate movements of the actors. Each character’s costume is carefully chosen to reflect their role, with the Shite wearing the most elaborate attire. The grandeur of the costumes, combined with the simplicity of the stage, creates a powerful visual contrast.
Noh and Kabuki
While both Noh and Kabuki are traditional Japanese theater forms, they are quite different in style and presentation. Kabuki is a vibrant, colorful, and energetic form of theater with elaborate costumes and sets. In contrast, Noh is more subdued, focusing on subtle movements, masks, and symbolism. Kabuki also tends to have a more elaborate plot and is often faster-paced, while Noh is slower and more abstract. Despite these differences, both art forms have significantly influenced each other and remain central to Japan’s cultural heritage.
Noh and Kyogen
Noh performances are traditionally paired with Kyogen, a comedic form of theater that acts as a counterbalance to the serious and often somber tone of Noh. Kyogen is light-hearted and focuses on everyday life, often poking fun at the social customs of the time. A typical Noh program will feature alternating Noh and Kyogen performances, providing the audience with a mix of drama and humor.
Noh Theaters: Where to Enjoy a Performance
Noh is traditionally performed in a Nohgakudo (Noh theater), a simple and elegant stage with minimal set decoration. Several theaters in Japan are famous for their Noh performances:
- National Noh Theatre (Tokyo): This theater offers regular performances and educational programs on Noh.
- Kyoto Kanze Kaikan: A prestigious Noh theater in Kyoto where both traditional and modern Noh performances are held.
- Kanze Noh Theater (Tokyo): One of the most famous Noh theaters in Japan, offering a wide variety of performances throughout the year.
- Sado Noh Stage: Located on Sado Island, this theater provides a unique and historic setting for Noh performances.
Conclusion
Noh is a deeply spiritual and expressive form of theater that continues to captivate audiences with its blend of music, dance, and drama. From its ancient roots to modern-day performances, Noh remains a vital part of Japan’s cultural heritage, offering a window into the country’s rich artistic traditions. Whether you are drawn to its haunting masks, graceful movements, or profound storytelling, Noh theater is a timeless art form that transcends generations.
