Kazuo Ono Noh have written many introductory books on current Nohgaku. However, the bulk of Nohgaku was established and set for a long time. It is therefore not necessary but a brief summary of what has been perfected to this day, that's what you can see on stage. First of all we will talk briefly about the major changes since its inception.
The combination of Noh and Kyogen, which is known as Nohgaku, is very significant as theater. Noh and Kyogen are completely opposed to idea, theme and expression, their relationship being that of elegance versus vulgarity, classic versus realistic, colloquial dialogue versus dance, poetry versus prose. These two arts, opposite qualities, enhance their effect each other through contrast. Sometimes programs are composed exclusively of either work or Kyogen Noh, but this is exceptional. Since the consolidation period is usually a standard program consists mainly of works of Noh, Kyogen works presented in the middle of these. Be regarded as complete a program only when there was the combination of the two types.
Nohgaku interpreters are divided into three types: actors (mai-kata), musicians (hayashi-kata) and performers of Kyogen. Among the actors are first-kata shite who make the leading roles; tsure-kata, who are responsible for supporting roles, and ji-kata-Uthai, who sing in the choir. Previously, these categories were clearly distinguished, but now sometimes exchanged for convenience functions.
There are five schools of shite-kata (key players): Kanze, including Umewaka; Hosho; Komparu, Kongo, and Kita. Then there are the kaki-kata (secondary) who play the role of opponents in battles against the shite-kata. Shunde and Shindo schools are gone and there are currently three schools: Shimogakari Hosho, Fukue and Takayasu.
Noh musicians are divided into three groups: was-kata (flute), kotsuzumi-kata (interpreter of the small drum), otsuzumi-kata (interpreter of the large drum) and taiko-kata (drum shell floor). They take part in some of the parts performing Kyogen hayashi simplified forms of music (instrumental quartet). For hayashi-kata (musicians of the quartet) there are many schools. For was being Isso, Morita, Fujita and other schools for the two houses are kotsuzumi Ko, Kanze, Okura and others; for otsuzumi are occurring, Takayasu, Kadono, Hosho and more, and taiko are Komparu and Kanze school.
Nohgaku The conventional scenario, from about 1700, is 6 meters. for 6 mts. And height is 85 cmts. In the front is the section AtoZ of 3 meters wide (including space for musicians). On the right is the space for chi-Uthai (chorus) of a meter wide. On the left, drifted a little obliquely from the main stage is the bridge (hashi-gakari), about eight feet wide and ten meters long, the end of which is the fourth mirror ( kagami-no-ma) next to the stage and behind the curtain. Behind stage is the dressing room (gaku). Each side of the stage and surrounding rooms are built with wood of hinoki (Japanese cypress) unpainted. On the wall in front of the stage is painted an elegant old pine tree, plus some bamboos. This wall, which never changes, serves as the background for all works. The square stage entering the public area has columns in the corners, but does not use curtains or other elements that hide in the interim. Thus, the scenario looks very simple in construction, but is actually built with extreme attention to every detail. For example, under the stage, more important, semientierran large clay pots to increase the resonance of the songs performed on stage, the sound of the footsteps of actors and music.
dancers, musicians and performers of Kyogen make their appearance from the fourth mirror when the curtain (agemaku) is lifted by an assistant. Arrive on stage across the bridge. His departure from the scene is performed by the same route. Sometimes leave the stage through a small door known as kiridoguchi (which has a sliding door) to the bottom right of the stage. The choir and the audience always enter and exit through that door. The way in and out of them follows strict rules according to their function and range.
Nohgaku A presentation is often a part of the festivals at shrines and temples generally following the old practice dating from the Middle Ages and the Tokugawa period. But the most important are those offered in theaters owned directly by individual schools or owned by wealthy members of the schools. Such functions are given regularly, once or twice a month or several times a year. Besides the regular features are also made some extra presentations. Sometimes a number of schools do work together. In addition to these presentations Nohgaku authentic, there are often some simplified, sometimes by students or amateur, where not used or the costumes or masks and are only fragments of complete works. Additionally often presented concerts of singing or recitation of Noh (Yokyoku) excluding or dance performance. So in total is presented across a large number of Japan-related programs Nohgaku. There are thousands of fans who take lessons in dance and music of Noh. Those who study singing Yokyoku, including the short time remaining, could reach a million or more, but people usually go to see the functions are too few.
Until about 1940 the program was a conventional presentation five work-starting with Okina Noh, followed by a work of gods (Kami Noh), and ending with a work of demons (Kichiku Noh) - and four Kyogen works among the works of Noh. The regular program took between seven and eight works. Currently, to adapt to the changing world, few programs of this magnitude. At this time a program contains most Okina, three works of Noh and Kyogen two. Okina is sometimes ignored and even reduce the number of other works. This extreme reduction in the number of works for a function seems to suggest a reversion to the old use was given at the time of Zeami. After that time, there was a rapid increase that number to more than a dozen, but the works were of shorter duration and being something exceptional, then the second period, the number returned to more reasonable standard of seven or eight pieces. Later when the works of Noh acquired more dignity and solemnity, the number dropped slightly.
In light of these changes, you can call the current use unorthodox. When it is recalled that only through the sequence of the five types of Noh-god, man, woman, lunatic demon can complete the world of Noh conceived by Zeami, one would wish that could restore the old system, although There are currently too many adverse conditions to succeed. IF ANYONE WRITES
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