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Nanori, issei, ageuta. Having developed an interest in Noh after watching several performances, you decide to have a look at a simple utai bon, or “chant book,” and come across these terms. As a newcomer to Noh, their meaning is completely lost on you. So you don’t get discouraged when you run into this type of terminology in utai bon and other books on Noh, we have created this categorized glossary of Noh Terminology.

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(脇狂言)

A kyōgen play performed after waki-noh (highly celebrative Noh plays) in the formal performing style "Goban Date.” It is characterized by an emphasis on auspiciousness. The plays are classified into several types, according to the leading characters: "Aso" and "Suehirokari" feature "Kahōmono" (lucky men); "Takara-no-tsuchi" and "Takara-no-kasa" feature "Tarō Kaja" (servants); "Ebisu-Bishamon" and "Ebisu-Daikoku" feature deities; and "Sannin-bu", "Sannin-chōja" and "Konbu-gaki" feature farmers. Most plays close with happy endings: such as "warai-dome," with a big belly laugh; "shagiri-dome," with music; or "utai-dome," with vocals.


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