Noh Terminology

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K (Index List)

Kachishura-mono (勝修羅物)

Among the nan or shura-mono (niban-me-mono) performances in the Goban Date style, “shin-nan-nyo-kyō-...

Kae (替エ)

Kae, or “change,” indicates a change in the normal performance style when multiple Noh or kyōgen pla...

Kaeai (替間)

Aikyōgen refers to when kyōgenkata appear in Noh plays, and when a special performance that differs ...

Kagami Ita (鏡板)

The lining board of the front of the Noh stage, with a large, old pine tree (oimatsu) painted on it....

Kagami No Ma (鏡の間)

The name for the room past the agemaku. In the room is placed a large mirror which the performers us...

Kagura (神楽)

One type of dance in Noh. A very elegant dance danced by a female god or priestess holding treasure...

Kaiko (開口)

See "Kaikō" ...

Kaikō (開口)

Chant performed at the start of wakinoh with the entrance of the waki to show that the waki is unre...

Kakaeogi (抱エ扇)

See "Kakaeōgi"...

Kakaeōgi (抱エ扇)

A form in Noh and kyōgen. In the kakaeōgi, or “held fan” form, the hinge of the opened fan is held b...

Kake-ai (掛合)

Parts sung by one character and another, or one character and the ji-utai, typically performed out o...

Kakegoe (掛声／カケ声)

Kakegoe are the vocals performed by players of the percussion instruments, the kotsuzumi, ōtsuzumi a...

Kakeri (カケリ)

Kakeri, or “anguish dance,” refers to the movement indicating the deranged state of warriors that ha...

Kakko (羯鼓)

A kind of dance performed by entertainer characters to display their abilities. They carry small tab...

Kamigakari (上掛リ)

Among the five shitekata schools, the Kanze and Hōshō schools, which share the same artistic roots, ...

Kamimai (神舞)

One type of dance in Noh. It is danced by the form of a male god to portray fluid, pure godlike dig...

Kamiuta (神歌)

The lyrics sung to shikisanban (okina). When okina is performed alone it is also known as and listed...

Kanehiki (鐘引)

The bell, or kane, that is hung from center stage in Noh’s Dojōji is the largest prop in Noh and is...

Kanjin noh (勧進能)

Performances held to raise subscriptions for the construction of shrines or temples. As times change...

Kanze School (観世流)

One school of the shitekata of Noh. The founder was one of the greats ofNoh, Kan’ami Kiyotsugu. (13...

Kan’ami (観阿弥)

Kan’ami lived from 1333to 1384and was a performer during the Nanboku-chō period. His given name was ...

Kan’nami (観阿弥)

See "Kan’ami"...

Karaori (唐織)

A gorgeous lined garment representative of Noh costumes, the karaori is a short-sleeved kimono worn ...

Kariginu (狩衣)

A long-sleeved garment worn by male characters. There are lined and unlined kariginu, with lined kar...

Kasshikikazura (喝食鬘)

One type of wig worn by the performer. The kasshikikazura is worn for roles of half-monk, half-layma...

Kasumi no ogi (霞ノ扇)

See "Kasumi no ōgi"...

Kasumi no ōgi (霞ノ扇)

A form in Noh and kyōgen. In the kasumi no ōgi, or “mist fan” form, the hinge of the opened fan is h...

Kataage (肩上げ)

One way of wearing a costume. Both shoulders of a mizugoromo or happi are folded into the neck area,...

Katamaku (片幕)

Katamaku refers to when the curtain is opened to the right (the underside of the hashigakari) of th...

Katanugi (肩脱ぎ)

One way of wearing a costume. One sleeve of the kimono is unworn. Katanugi are used in particular fo...

Katari (語リ)

Katari, or simply “speaking” refers to one character telling stories of past events or famous storie...

Katariai (語リ間)

Aikyōgen refers to when kyōgenkata appear in Noh plays, and the portion of dialogue that connects th...

Katatsuke (型付)

Katatsuke refers to a predetermined, stylized form (movement) in Noh and kyōgen plays. Or it can be ...

Katsura Mono/Kazura Mono (鬘物)

In the official five-play style of performance of the Edo era, shin nan nyo kyō ki (deity, man, woma...

Kazashi (カザシ)

A form in Noh and kyōgen. In the kazashi, or “shading fan” form, the hinge of the opened fan is held...

Kazura (鬘)

The wigs worn by the performers. There are three types of wigs used in Noh and kyōgen, the kashira, ...

Kazuraobi (鬘帯)

A long belt worn by female roles tied long and thinly and extending from the top of the wig like a h...

Kensho/Kenjo (見所)

The audience seating at a Noh stage or Noh theatre. Seating is usually separated into the “front sea...

Kimari Moyo (極リ模様)

See "Kimari Moyō" ...

Kimari Moyō (極リ模様)

Using the standard color and design in costumes and fans when performing Noh or kyōgen. One example ...

Kiri Noh (切能)

In the official five-play style of performance of theEdo era, shin nan nyo kyō ki (deity, man, woman...

Kiri (キリ)

Kiri refers to the end of something. In Noh, this is the final party of the play, as in kiri-no-utai...

Kiridoguchi (切戸口)

The kiridoguchi is a small door to the right when facing the stage in the corner of the waki no kaga...

Kita School (喜多流)

One of Noh’s shitekata schools. A new school founded around 1619 at the start of the Edo era with th...

Kitsuke (着付)

A type of kosode, or short-sleeved kimono, with smaller cuffs. When the costume is put on, a padded ...

Kizahashi (階)

The kizahashi are the steps located in the front of the main stage, also called the shirasu-bashigo,...

Kogaki (小書)

Kogaki or “small writing” indicates a special type of Noh or kyōgen performance. The name refers to ...

Kokata (子方)

Roles played by children in Noh that include the entrance of the shitekata. There are two types of k...

Koken (後見)

See "Kōken"...

Komai (小舞)

One of the dances of the kyōgenkata, many of the komai, or “small dances,” are relatively short. The...

Komi (コミ／込ミ)

Komi are the rest periods emphasized in different parts of the performance, including the vocals, mu...

Kongoh School (金剛流)

One of Noh’s shitekata schools. Its founder is said to be Sakato Magotarō Ujikatsu (1280-1384) of th...

Konparu School (金春流)

One of Noh’s shitekata schools. The Konparu School has the longest history of any of the four Yamato...

Konparu Zenchiku (金春禅竹)

Konparu Zenchiku was a Noh actor and playwright who lived from 1405 (Ōei 1212) to 1470 (Bunmei 2)?, ...

Konparusatsu (金春札)

A shitekata and the founder of the Konparu School was granted authority over a region near Nara by T...

Koshimaki (腰巻)

One way of wearing a Noh costume. Koshimaki, where the costume is wrapped around the waist, is often...

Kotoba (コトバ)

Kotoba, or “words,” refers to parts of vocals that include words only and no notes. In chant books, ...

Kotsuzumi (小鼓)

The percussion instrument used by the kotsuzumikata, literally “small drum.” Also known simply as “d...

Kouta (小歌)

Noh and kyōgenplays believed to incorporate folk songs from the Muromachi era. Kouta is represented ...

Koutabushi (小歌節)

In kyōgen, adding the verses of the kouta popular in the middle ages to where the words, or kotoba w...

Kuchiake (口開)

One type of Aikyōgen (ai) performed by the kyōgenkata in Noh. The ai that appears in the beginning ...

Kuchiakeai (口開間)

One type of aikyōgen performed by the kyōgenkata in Noh. Used to create the setting for the entrance...

Kudoki (クドキ)

Kudoki refers to vocals in Noh that are full of lamenting and sorrow sung by the shite, shitetsure a...

Kumo no ogi (雲ノ扇)

See "Kumo no ōgi"...

Kumo no ōgi (雲ノ扇)

A form inNoh and kyōgen. In the kumo no ōgi, or “shading fan” form, the hinge of the opened fan is h...

Kumorasu (クモラス)

Angling the mask slightly downward is known as kumorasu, or “to make a sad face,” and angling the ma...

Kurai (位)

Kurai is a term that relates to the overall performance and production of Noh and kyōgen. It is used...

Kuri (クリ)

Noh chants are made up of numerous shōdan. Kuri is one name for shōdan. Kuri act as the introductory...

Kurogashira (黒頭)

One type of kazura, or wig, worn by the performers. Traditionally made of yak hair. The bangs are wo...

Kurokawa Noh (黒川能)

The Noh prevalent during the Muromachi era in Kurokawa in the city of Tsuruoka in Yamagata prefectur...

Kurotare (黒垂)

One type of wig worn by the performers, the kurotare is a tare, or type of wig, made of black hair....

Kuruizasa (狂い笹)

Bamboo grass held in the hands to symbolized a crazes, confused characters. Kuruizasa is used for th...

Kuse (クセ)

A single Noh play is made up of a combination of numerous shōdan, or “modules,” and kuse is one name...

Kusemai (曲舞)

One of the medieval arts prevalent from the Nanboku-chō era to the Muromachi era, kusemai is also re...

Kutsurogu (くつろぐ)

Point at which the performers stop performing momentarily and face the audience. The performers may ...

Kyogenkata (狂言方)

See "Kyōgenkata"...

Kyogenkuchiake (狂言口開)

See "Kyōgenkuchiake"...

Kyogentabi (狂言足袋)

See "Kyōgentabi"...

Kyu no mai (急之舞)

See "Kyū no mai"...

Kyōgenkata (狂言方)

In addition to performing and acting as the kōken and jiutai in kyōgen, the kyōgenkata acts as the a...

Kyōgenkuchiake (狂言口開)

One type of aikyōgen performed by the kyōgenkata in Noh. Used to create the setting for the entrance...

Kyōgentabi (狂言足袋)

The socks worn by kyōgenkata when putting on their costumes. They are made of yellow died cotton, an...

Kyū no mai (急之舞)

The fastest type of Noh dance. There are two types of Kyū no mai, performed with either the fue, kot...

Kōken (後見)

The role that overseas the performance in Noh and kyōgen. A proper kōken has an equivalent or higher...