Noh - Wikipedia. This article is about the classical Japanese dance theatre. For the town in Africa, see Noh, Burkina Faso. For the wife of Oda Nobunaga, see Nōhime. For the surname 노, usually transliterated Roh, see Roh. Noh(能,Nō), or Nōgaku(能楽)—derived from the Sino- Japanese word for "skill" or "talent"—is a major form of classical Japanese musical drama that has been performed since the 1. Watch The Nightmare Before Christmas Online Metacritic. Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today.[1] Traditionally, a Noh program includes five Noh plays with comedic kyōgen plays in between; an abbreviated program of two Noh plays and one kyōgen piece has become common in Noh presentations today. An okina (翁) play may be presented in the very beginning especially during New Years, holidays, and other special occasions.[2]Noh is often based on tales from traditional literature with a supernatural being transformed into human form as a hero narrating a story.

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Noh integrates masks, costumes and various props in a dance- based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent the roles such as ghosts, women, children, and the elderly. Written in ancient Japanese language, the text "vividly describes the ordinary people of the twelfth to sixteenth centuries".[attribution needed][3] Having a strong emphasis on tradition rather than innovation, Noh is extremely codified and regulated by the iemoto system. History[edit]Karaori garment, Edo period, 1. Origins[edit]The word NohÄÄ means skill, craft, or the talent particularly in the field of performing arts in this context. The word Noh may be used alone or with gaku (fun, music) to form the word nōgaku. Noh is a classical tradition that is highly valued by many today.

When used alone, Noh refers to the historical genre of theatre originated fromsarugakuin the mid 1. Noh and kyōgen "originated in the 8th century when the sangaku (ja: 散楽) was transmitted from China to Japan. At the time, the term sangaku referred to various types of performance featuring acrobats, song and dance as well as comic sketches.

Its subsequent adaption to Japanese society led to its assimilation of other traditional art forms."[3]Various performing art elements in sangaku as well as elements of dengaku (rural celebrations performed in connection with rice planting), sarugaku (popular entertainment including acrobatics, juggling, and pantomime), shirabyōshi (traditional dances performed by female dancers in the Imperial Court in 1. Imperial Court beginning in 7th century) evolved into Noh and kyōgen.[1]Studies on genealogy of the Noh actors in 1.

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Sociological research by Yukio Hattori reveals that the Konparu School (ja: 金春流), arguably the oldest school of Noh, is a descendant of Mimashi (味摩之), the performer who introduced gigaku, now- extinct masked drama- dance performance, into Japan from Kudara Kingdom in 6. Another theory by Shinhachiro Matsumoto suggests Noh originated from outcastes struggling to claim higher social status by catering to those in power, namely the new ruling samurai class of the time. The transferral of the shogunate from Kamakura to Kyoto at the beginning of Muromachi period marked the increasing power of the samurai class and strengthened the relationship between the shogunate and the court.

As Noh became the shogun's favorite art form, Noh was able to become a courtly art form through this newly formed relationship. In 1. 4th century, with strong support and patronage from shōgun. Ashikaga Yoshimitsu, Zeami was able to establish Noh as the most prominent theatre art form of the time.[4]Kan'ami and Zeami[edit]Kan'ami Kiyotsugu and his son Zeami Motokiyo brought Noh to what is essentially its present- day form during the Muromachi period (1. Kan'ami was a renowned actor with great versatility fulfilling roles from graceful women and 1. When Kan'ami first presented his work to 1. Ashikaga Yoshimitsu, Zeami was a child actor in his play, around age 1.

Yoshimitsu fell in love with Zeami and his position of favor at court caused Noh to be performed frequently for Yoshimitsu thereafter.[4]Tokugawa era[edit]During the Edo period Noh continued to be aristocratic art form supported by the shogun, the feudal lords (daimyōs), as well as wealthy and sophisticated commoners. While kabuki and joruri 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 positions was reproduced by others, generally resulting in an increasingly slow, ceremonial tempo over time.[4]Modern Noh after Meiji era[edit]The fall of the Tokugawa shogunate in 1. Noh experienced major financial crisis. Shortly after the Meiji Restoration 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 Meiji era also significantly broadened Noh's reach by catering to the general public, performing at theatres in major cities such as Tokyo and Osaka.[7]In 1.

Japanese Government designated nōgaku as an Important Intangible Cultural Property, which affords a degree of legal protection to the tradition as well as its most accomplished practitioners. The National Noh Theatre founded by the government in 1. Noh was inscribed in 2. Representative List of the Intangible Cultural Heritage of Humanity by UNESCO as Nôgaku theatre.[3]Although the terms nōgaku and Noh are sometimes used interchangeably, nōgaku encompasses both Noh and kyōgen.[8]Kyōgen is performed in between Noh plays in the same space. Compared to Noh, "kyōgen relies less on the use of masks and is derived from the humorous plays of the sangaku, as reflected in its comic dialogue."[3]Jo- ha- kyū[edit]The concept of jo- ha- kyū 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. Jo means beginning, ha means breaking, and kyū means rapid or urgent.

The term originated in gagaku, ancient courtly music, to indicate gradually increasing tempo and was adopted in various Japanese traditions including Noh, tea ceremony, poetry, and flower arrangement.[9]Jo- ha- kyū is incorporated in traditional five- play program of Noh. The first play is jo, the second, third, and fourth plays are ha, and the fifth play is kyū. In fact, the five categories discussed below were created so that the program would represent jo- ha- kyū 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 jo, gets slightly faster at ha, then culminates in kyū.[1. Performers and roles[edit]Actors begin their training as young children, traditionally at the age of three. Historically, Noh performers had been exclusively male, but daughters of established Noh actors have begun to perform professionally since the 1. In 2. 00. 9, there were about 1. Noh performers.[1. Training[edit]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.[1. Watch The Chase HDQ.

In 2. 01. 2, there are five extant schools of Noh acting called Kanze (観世), Hōshō (宝生), Komparu (金春), Kongō (金剛), and Kita (喜多) schools that train shite actors. Each school has its own iemoto family that carries the name of the school and is considered the most important. The iemoto holds the power to create new plays or modify lyrics and performance modes.[1.