Noh Terminologytag:db2.the-noh.com,2008:/edic//22008-11-13T05:59:08ZMovable Type 3.34Hiranoritag:db2.the-noh.com,2008:/edic//2.1112008-11-13T05:57:20Z2008-11-13T05:59:08Z平ノリkuni
A type of vocal rhythm. There are three types of vocal rhythms that correspond to the rhythm of the hayashi :hiranori, chūnori, and ōnori. Hiranori is basically written in twelve characters in seven-and-five syllable meter and sung separated into eight beats. As in the following chant, “I–ro, ha, ni–ho, he, to–chi, ri, nu, ru, wo,” the first character begins with a half beat, with the first, third and fifth beats extended (indicated by the dashes above) or un-extended. Hiranori is characterized by a change in the number of characters and the presence or absence and length of verses, making it one of the most technically challenging rhythms of Noh.]]>
Kokatatag:db2.the-noh.com,2008:/edic//2.1102008-11-13T05:55:56Z2008-11-13T05:57:06Z子方kuni
Roles played by children in Noh that include the entrance of the shitekata. There are two types of kokata, one in which children play the role of children, such as Ushi Wakamaru in Kurama Tengu and Umewakamaru in Sumidagawa River, and one in which adult roles are played by children such as Yoshitsune in Funabenkei. While kokata also play the roles of children in kyōgen in plays such as Kanazu Jizō and Ushi Nusubito, and as the monkey in Utsubo Zaru, they do not play the roles of adults as in Noh. Although the kokata of Noh do not wear masks, in kyōgen they may wear masks depending on the role.]]>
Waraidometag:db2.the-noh.com,2008:/edic//2.1092008-11-13T05:54:24Z2008-11-13T05:55:49Z笑イ留kuniWaraidome, or “ending laugh,” is a type of kyōgen performance ending with a great laugh. For example, in the kyōgen play Suhajikami, a sake and ginger salesman laugh together to end the play. The great guffaw, unique to kyōgen, exhilarates the audience and sets them in a pleasant mood.]]>
Naraitag:db2.the-noh.com,2008:/edic//2.1082008-11-13T05:52:35Z2008-11-13T05:54:13Z習kuniNarai are plays and performances that require special permission to be performed. Narai are both technically and psychologically highly demanding, requiring much practice. Narai for the shitekata include Shakkyō, Dōjōji, Midare or Shōjōmidare, Okina, and Obasute; for the wakikata, Chōryō, Dōjōji, and Sumidagawa; and for the kyōgenkata, Tsurigitsune, Hanago, and Makuramonogurui. Many of the narai of the shitekata are shared by the hayashikata, while some are distinct. Performers spend their lifetime practicing narai corresponding to their stage career and age. The initial performance of narai is known as hiraki, and the status of the performer is elevated if he is able to successfully complete the performance of a hiraki.]]>
Oshirabetag:db2.the-noh.com,2008:/edic//2.1032008-10-23T03:08:21Z2008-10-23T03:09:15Zお調べkuniOshirabe refers to the hayashikata tuning their instruments before the performance of Noh. The hayashikata queue up (from left to right facing the curtain: fue, kotsuzumi, ōtsuzumi and taiko) horizontally facing the curtain in the kagami-no-ma space and tune their instruments in ceremonious fashion. This signals to the audience the performance will begin shortly, heightening expectation. In kyōgen, mai hayashi and icchō, and other types of performances except Noh, oshirabe takes place in the dressing room.]]>
Komaitag:db2.the-noh.com,2008:/edic//2.1022008-10-23T03:03:16Z2008-10-23T03:07:40Z小舞kuni
One of the dances of the kyōgenkata, many of the komai, or “small dances,” are relatively short. The types of verses vary from those found in popular historical plays such as Nanatsugo and Uji No Sarashi to typical Noh verses such as those found in Ukai and Kagekiyo. In addition to being performed in the drinking parties of kyōgen, komai are also performed in the shimai of Noh. The komai often follow jiutai, and are performed in montsuki-hakama or kamishimo costumes.]]>
Kagami Itatag:db2.the-noh.com,2008:/edic//2.1012008-10-23T03:01:38Z2008-10-23T03:03:07Z鏡板kuni
The lining board of the front of the Noh stage, with a large, old pine tree (oimatsu) painted on it. The wood is said to be “Yōgō no Matsu (Pine)” from the Kasuga Taisha temple in Nara Prefecture, and legend has it the Shinto god Kasuga Daimyōjin once performed on these same planks. Gods are thought to descend from heaven and reside in the Yōgō no Matsu, which is used as a subject of worship. There is also a lining board to the right of the kagami ita, on which many bamboo shoots are painted, which is also called the waki no kagami ita.]]>
Kizahashitag:db2.the-noh.com,2008:/edic//2.1002008-10-23T02:58:41Z2008-10-23T03:47:02Z階kuni
The kizahashi are the steps located in the front of the main stage, also called the shirasu-bashigo, or “white pebble ladder.” The kizahashi is not used in modern performances. The top of the planks on the inner side of the kizahashi often protrude slightly from the floor of the main stage, and are used as a reference point for the front of the stage by the performers.]]>
Atozatag:db2.the-noh.com,2008:/edic//2.952008-10-13T12:51:54Z2008-10-13T12:56:14Z後座kuni
The area to the far left facing main stage past the line connecting the shite-bashira and the fue-bashira. On the far side of the atoza is the kagami ita on which the oimatsu is painted. The height of the ceiling grows lower moving upstage and acts as a soundboard. The hayashikata sit in front of the atoza, with the fue, kotsuzumi, ōtsuzumi and taiko performers sitting in order from right to left. The kōken sits behind and to the left of the atoza in a space called the kōkenza. The seams between the planks of the main stage run vertically when facing the stage, and as the seams are perpendicular to the atoza, it is alternatively called the yokoita, or “side board.” ]]>
Honmakutag:db2.the-noh.com,2008:/edic//2.942008-10-13T12:51:17Z2008-10-13T12:56:31Z本幕kuniHonmaku, or “full curtain,” refers to when the curtain is raised completely with two poles from the inside. Costumed performers typically enter the stage during the honmaku. Mountains, hills and buildings are often represented, and the props placed above the stage are also brought on stage at this time. Performers and props are said to “enter” or “be placed with the honmaku.”]]>
Katamaku tag:db2.the-noh.com,2008:/edic//2.932008-10-13T12:48:44Z2008-10-13T12:56:57Z片幕kuniKatamaku refers to when the curtain is opened to the right (the underside of the hashigakari) of the agemaku just enough for one person to pass through. The katamaku is typically used as the entranceway for the hayashikata, kōken and katariai. However, in modern times the kōken usually enters and exits using the kirido. The katariai will usually enter using the katamaku and exit through the kirido. Performers are said to “enter” and “exit with the katamaku.”]]>
Hanmakutag:db2.the-noh.com,2008:/edic//2.922008-10-13T12:47:59Z2008-10-13T12:57:14Z半幕kuni
Meaning “half curtain,” the hanmaku is the point at which the bottom half of the agemaku is raised when the atoshiteåexits to reveal the shite behind the curtain. Hanmaku appears only in special performances and is not used in regular performances. For example, in a special performance of the play Funabenkei the figure of the atoshite seated on the shōgi is shown with the hanmakuand the ghost of Taira-no-tomomori is revealed hiding amid the waves. The curtain is then lowered and the atoshite appears during the honmaku]]>
Honmentag:db2.the-noh.com,2008:/edic//2.872008-09-19T07:25:11Z2008-09-19T07:55:48Z本面kuni
Masks that form the standard for individual schools and are passed down by the heads of the schools are known as thehonmen, or “original masks.” Many honmen were made in the Muromachi era and hold high artistic value. The ownership of honmen was reported to the Shogunate and indicated in written records of the Edo era. The owners of honmen treat them with special care, only using them in special occasions.]]>
Chakuzatag:db2.the-noh.com,2008:/edic//2.862008-09-19T07:24:36Z2008-09-19T08:00:33Z着座kuniChakuza, or “taking one’s seat” refers to the performers sitting in their designated areas on stage. For example, sitting in the wakiza is referred to as “being seated in the wakiza” or “sitting in the wakiza.”]]>
Rongitag:db2.the-noh.com,2008:/edic//2.852008-09-19T07:24:03Z2008-09-19T08:01:11Zロンギkuni
Noh chants are made up of numerous shōdan. Rongi is one name for shōdan. The rongi are usually sung as a form of question and answer between the actors (mostly the shite) and the jiutai, or between the actors themselves. Rongi are found in many waki-noh mono and kazura mono, with “kuri, sashi, kuse, rongi, nakairi” forming the typical sequence. Said to derive from the rongi, or contemplative discussions of Buddhism, they are sung in rhythm.]]>