Full Answer
Characteristics of Noh Theater. This actor represents the main character of the drama, someone who is compelled by a single emotion for the entire performance. The shite may be accompanied on stage by a few waki (supporting characters), as well as the jiutai (chorus) and hayashi (musicians). All roles are played by men.
Let's start with the characters. Noh theater does not have an abundance of characters, and in fact there is only one lead actor, called the shite (pronounced shee-tay). This actor represents the main character of the drama, someone who is compelled by a single emotion for the entire performance.
Noh theater does not have an abundance of characters, and in fact there is only one lead actor, called the shite (pronounced shee-tay). This actor represents the main character of the drama, someone who is compelled by a single emotion for the entire performance.
Technically it's spelled Noh, but close enough. Noh is one of Japan's most cherished traditional art forms, a musical and poetic type of stage drama that has been practiced continually since the 14th century and is still prominent in Japan today. It's elegant, intense, subtle, and ephemeral all at once,...
Noh theater does not have an abundance of characters, and in fact there is only one lead actor, called the shite (pronounced shee-tay). This actor represents the main character of the drama, someone who is compelled by a single emotion for the entire performance.
Noh is one of Japan's most cherished traditional art forms, a musical and poetic type of stage drama that has been practiced continually since the 14th century and is still prominent in Japan today. It's elegant, intense, subtle, and ephemeral all at once, and has some remarkable costumes as well.
The biggest change came with the Tokugawa Period (1603-18 67). By this time, Noh was being recognized not just for its quality as an art form, but for its role as a coveted tradition. The Tokugawa shoguns worked to codify and standardize Noh, limiting some of the potential for new developments but also enshrining it as a revered cultural artifact and official part of Japanese national identity. The Tokugawa era also saw the development of a fifth major Noh troupe, alongside the four that had existed since the Muromachi Period. All five of these troupes are still active today.
Noh is a form of dramatic expression that takes its time ; it's elegant, dramatic, intense, and richly textured. This sense of expression is captured in the music as well, and we have to remember that this is a form of musical theater (not too dissimilar from ballet in some regards).
Noh is a form of high theater developed from the folk traditions of Japan that emerged in the earliest years of the Muromachi Period (1333-1573). The person most directly responsible for its development was a man named Kan'ami.
Together, the entire spectacle of Noh and kyogen is called nogaku. Noh performance. It was Kan'ami's son (and Noh actor) Zeami, however, who ultimately carried on the tradition and really started gaining government patronage and recognition of Noh Theater.
Certain props, like fans, may be utilized, but the stage itself is generally left bare, giving the shite room to perform the emotive and dramatic dance that defines the performance style.
Noh theater does not have an abundance of characters, and in fact there is only one lead actor, called the shite (pronounced shee-tay). This actor represents the main character of the drama, someone who is compelled by a single emotion for the entire performance.
Noh is one of Japan's most cherished traditional art forms, a musical and poetic type of stage drama that has been practiced continually since the 14th century and is still prominent in Japan today. It's elegant, intense, subtle, and ephemeral all at once, and has some remarkable costumes as well.
The biggest change came with the Tokugawa Period (1603-18 67). By this time, Noh was being recognized not just for its quality as an art form, but for its role as a coveted tradition. The Tokugawa shoguns worked to codify and standardize Noh, limiting some of the potential for new developments but also enshrining it as a revered cultural artifact and official part of Japanese national identity. The Tokugawa era also saw the development of a fifth major Noh troupe, alongside the four that had existed since the Muromachi Period. All five of these troupes are still active today.
Noh is a form of dramatic expression that takes its time ; it's elegant, dramatic, intense, and richly textured. This sense of expression is captured in the music as well, and we have to remember that this is a form of musical theater (not too dissimilar from ballet in some regards).
Noh is a form of high theater developed from the folk traditions of Japan that emerged in the earliest years of the Muromachi Period (1333-1573). The person most directly responsible for its development was a man named Kan'ami.
Together, the entire spectacle of Noh and kyogen is called nogaku. Noh performance. It was Kan'ami's son (and Noh actor) Zeami, however, who ultimately carried on the tradition and really started gaining government patronage and recognition of Noh Theater.
Certain props, like fans, may be utilized, but the stage itself is generally left bare, giving the shite room to perform the emotive and dramatic dance that defines the performance style.