Noh Terminologytag:db2.the-noh.com,2012:/edic//22012-05-15T07:09:49ZMovable Type 3.34Shijimagototag:db2.the-noh.com,2012:/edic//2.7092012-05-15T07:04:47Z2012-05-15T07:09:49Z無言事kuni
One type of Noh production, literally “no-word things.” Typically, the parts accompanying the vocals and music include only movement. The movement of the actors comes into sharp focus in the dead silence of the stage, creating a unique atmosphere. There are shijimagoto denoted as su no de, su no nakairi, and su no ayumi, but these are very rare. ]]>
Sumiboshitag:db2.the-noh.com,2012:/edic//2.7082012-05-15T07:03:23Z2012-05-15T07:04:41Z角帽子kuni
"Sumibōshi"]]>
Sumibōshi tag:db2.the-noh.com,2012:/edic//2.7072012-05-15T07:01:27Z2012-05-15T07:03:18Z角帽子kuni
One type of headwear in Noh and kyōgen. The sumibōshi, or “angled hat,” is worn by monk roles, with the top folded into a triangle and the rear draped down the back of the performer. The part of the hat draped down the back is folded upwards, and when that portion is used to cover the side of the face, it is known as “to wear in the shamon style” or “shamon bōshi,” and is used for the roles of high priests. It is also known as the sunbōshi.]]>
Konparu Zenchikutag:db2.the-noh.com,2012:/edic//2.7042012-04-24T02:04:28Z2012-04-24T02:20:55Z金春禅竹kuniKonparu Zenchiku was a Noh actor and playwright who lived from 1405 (Ōei 1212) to 1470 (Bunmei 2)?, during the middle of the Muromachi era. His given name was Shichirō Ujinobu, and his dharma name — a new name acquired during a Buddhist initiation ritual — was Zenchiku. He was the son-in-law of one of the most important figures in Noh, Zeami, and as the leader of the Konparu School revival, was active in a large area based in Nara. Under the close tutelage of Zeami, a wealth of knowledge was passed on to him, and he wrote many of his own works on Noh, including Go-on no shidai , Kabu zuinōki , Rokurin ichiro no ki , and Myojukushū . He was also highly esteemed as a playwright, penning plays such as Bashō, Teika, Yōkihi, Tamakazura and Ojio — many profound works that are both elegant and quiet. He cared greatly for Zeami when he left for the island of Sado in his later years, and all of the help Zenchiku gave his master during this time is a testament to how great a person he was.]]>
Konparusatsutag:db2.the-noh.com,2012:/edic//2.7022012-04-24T01:58:53Z2012-04-24T02:24:17Z金春札kuni
A shitekata and the founder of the Konparu School was granted authority over a region near Nara by Toyotomi Hideyoshi and issued paper currency used in the area through the end of the Edo era. This currency was known as Konparu notes. Konparu notes were convertible notes used in place of real currency, and during the conflict of the Meiji Restoration they are believed to have lost value, causing a run on the bank and riots on the grounds of the Konparu estate.]]>
Koutabushitag:db2.the-noh.com,2012:/edic//2.7002012-04-10T05:15:11Z2012-04-10T05:15:46Z小歌節kuni
In kyōgen, adding the verses of the kouta popular in the middle ages to where the words, or kotoba would be. or, those verses. Koutabushi are performed in kyōgen plays such as Tsurigitsune and Kobu-Uri, in which they are added to the call of a dried kelp (kobu) merchant: “Enjoy kobu, enjoy kobu, enjoy kobu, wonderful kobu from the beach of Wakasa/i>.”]]>
Koutatag:db2.the-noh.com,2012:/edic//2.6992012-04-10T05:14:36Z2012-04-10T05:19:51Z小歌kuniNoh and kyōgenplays believed to incorporate folk songs from the Muromachi era. Kouta is represented by Hōkazō, Kagetsu and Tōei, and the plays often include performances within the performance. The kouta of kyōgen are known specifically as kyōgen kouta, characterized by their delicate and beautiful arrhythmic verses and performed in the plays Hanako, Kanaoka and Mizukumi.]]>
Genzai-Monotag:db2.the-noh.com,2012:/edic//2.6962012-03-27T10:31:17Z2012-03-27T10:32:48Z現在物kuniGenzai Noh is a type of Noh that deals with events in the real world, and Genzai Noh with a male shite are known as genzai-mono. As the shite does not wear a mask, these plays are also known as hitamen-mono, or “bare face plays,” and include works such as Shunkan and Kagekiyo. Popular genzai-mono include stories of life, art, struggle and war, and works such as Ataka and Hachinoki have greatly influenced later generations of Noh.]]>
Shinkatag:db2.the-noh.com,2012:/edic//2.6952012-03-27T10:29:37Z2012-03-27T10:30:57Z神歌kuni
"kamiuta"
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Kamiutatag:db2.the-noh.com,2012:/edic//2.6942012-03-27T10:27:54Z2012-03-27T10:29:27Z神歌kuni
The lyrics sung to shikisanban (okina). When okina is performed alone it is also known as and listed in the program as kamiuta, or “holy song.”]]>
Geki Nohtag:db2.the-noh.com,2012:/edic//2.6902012-03-13T08:12:54Z2012-03-13T08:14:32Z劇能kuni
A type of Noh that focuses on the internal struggles and psychology of the characters. The term is meant to contrast with Fūryū Noh, which more strongly emphasized performance elements, and does not mean “dramatic Noh,” as the kanji geki (“drama”) seems to imply. Noh plays can be classified into Mugen Noh, in which the entire play is a dream sequence or illusion, and Genzai Noh, plays that deal with events in the real world. Geki Noh can fall into either category. Mugen Noh includes plays such as Izutsu, Matsukaze and Yorimasa, and Genzai Noh plays such as Sumidagawa and Ataka.]]>
Kurokawa Nohtag:db2.the-noh.com,2012:/edic//2.6892012-03-13T08:10:25Z2012-03-13T08:16:09Z黒川能kuni
The Noh prevalent during the Muromachi era in Kurokawa in the city of Tsuruoka in Yamagata prefecture. It was passed down through the generations as a performance of offering to the Kasuga Shrine by the shrine parishioners, and preserves traditions not present in the modern forms of the five major Noh schools. There is a kamiza and a shimoza, and 540 Noh plays and 50 kyōgen plays in Kurokawa Noh. 230 masks and 400 costumes are used on stage, and many original documents remain. Kurokawa Noh is one of Japan’s largest and most important traditional arts, and is designated as a significant intangible folk cultural asset by the Japanese government. It is performed at Kasuga Shrine during the Ōgisai Festival on February 1-2.]]>
Kiridoguchitag:db2.the-noh.com,2012:/edic//2.6862012-02-28T06:12:53Z2012-02-28T06:13:19Z切戸口kuni
The kiridoguchi is a small door to the right when facing the stage in the corner of the waki no kagami ita, where the wakatake, or “young bamboo,” is planted. It is a sliding door so small the actors must crouch to pass through. In addition to being a door for the koken and jiutai, it allows actors who have completed their parts to exit without standing out. The kiridoguchi is also used to enter and exit the stage for shortened performances such as shimai and ibayashi. It is also known as the okubyōguchi, or “door of cowardice,” and the wasureguchi, or “forgotten door.”]]>
Kake-aitag:db2.the-noh.com,2012:/edic//2.6852012-02-28T06:11:19Z2012-02-28T06:16:53Z掛合kuni
Parts sung by one character and another, or one character and the ji-utai, typically performed out of rhythm. Where the kake-ai are performed with the shite and waki facing each other, typically the tempo rises and falls with each verse.]]>
Kaetag:db2.the-noh.com,2012:/edic//2.6822012-02-14T08:37:52Z2012-02-14T08:38:29Z替エkuniKae, or “change,” indicates a change in the normal performance style when multiple Noh or kyōgen plays are performed. The kogaki written to the left side of the title of the play are also kae, but as these are special naraimono which are not passed on or performed without special permission, they are specially indicated in the program. There are many different types of kae, such as kae-shōzoku in which the costumes change, kae-no-kata in which the forms change, and kae-ai in which the contents of ai-kyōgen change, great increasing the beauty of a single play.]]>