Noh Terminology

Komparu School [Taiko-kata] (金春流［太鼓方］)

One of the Noh drum (taikoi) schools, also called the Sōemon School. The founder, Komparu Saburō Toy...

Kanze School [Taiko-kata] (観世流［太鼓方］)

One of the Noh drum (taiko) schools, also called the Kanze Sakichi School. The founder, Kanze Yoshir...

Takayasu School [Ōtsuzumi-kata] (高安流［大鼓方］)

One of the Noh large hand drum (ōtsuzumi) schools. The founder, Takayasu Yoemon Dōzen (1499-1557), w...

Kadono School [Ōtsuzumi-kata] (葛野流［大鼓方］)

One of the Noh large hand drum (ōtsuzumi) schools. The founder, Kadono Kurō Hyōenojō Sadayuki (1588-...

Kō School [Kotsuzumi-kata] (幸流［小鼓方］)

One of the Noh small hand drum (kotsuzumi) schools, also known in the past as the Kō Gorōjirō School...

Oni-zukin (鬼頭巾)

A kind of costume used for kyōgen plays. A hood worn for the role of an ogre. The part wrapping the ...

Fukkyoku (復曲)

Around 200 Noh plays are performed as “current pieces”. The existing Noh pieces are based on the “ka...

Shikigaku (式楽)

A style of performing arts featured in ceremonies of aristocrats and warrior families. Shikigaku als...

Shiki-sanban (式三番)

A kind of divine service classified in Noh but not a genuine Noh play. It is usually called “okina”....

Hatsu-omote (初面)

To put on a mask and perform Noh for the first time. Children who practice Noh from an early age tak...

Tome (トメ)

It is a style of Noh and Kyōgen acting. It is a form of dancing that is used to end a dance performa...

Osame (納メ)

It is a style of Noh and Kyōgen acting. It is a form of dancing that is used to end a dance performa...

Shitome (シトメ)

It is a style of Noh and Kyōgen acting. It is a form of dancing that is used to end a dance performa...

Hakama-kyōgen (袴狂言)

A Kyōgen performance in which the performer uses no masks or costumes, but instead wears a montsuki...

Shukkin-ryō (出勤料)

The fee for performing Noh and Kyōgen. In the Noh world, a performer’s appearance on stage is calle...

Ui-kammuri (初冠)

A form of headgear, used by high-ranking characters such as gods, emperors, and nobles. Different ty...

Shikinō (式能)

A Noh performance held as an official ceremony. Considered the most prestigious Noh performance duri...

Tsuku (ツク)

The verb “tsuku” is used to indicate overlapping. Noh performers hate overlapping in anything, incl...

Nohgaku Kyōkai (能楽協会)

The Nohgaku Performers’ Association. A public-interest incorporated association whose full members a...

Bōji (ボウジ)

A strip of cloth like a bandage. Bōji is used for wrapping bamboo or wooden props (such as tool hand...

Bangumi (番組)

A series of plays for a performance (or the order of the plays), or a small book or sheet of paper g...

Shimai-ōgi (仕舞扇)

From actors, musicians and assistants to reciters, every Noh performer holds a fan. Actors in costum...

Utaigoto (謡事)

A part of Noh performance consisting of utai (vocals), hayashi (music) and shosa (movement). There ...

Noh-gakushi (能楽師)

Performers involved in the art of Noh (Noh and kyōgen) as their profession. Responsibility for thei...

Onna-sarugaku (女猿楽)

A kind of sarugaku performed by female actors that became popular during the Muromachi and the Edo e...

Kodōgu (小道具)

Kodōgu refers to properties used on stage. It does not include masks, kahatsu (wigs) or costumes. Pr...

Shushi-hashiri (呪師走り)

A type of performing arts frequently staged after Buddhist services at major temples in the Heian an...

kyōgen-utai (狂言謡)

A type of chant recited by kyōgen actors. It includes "koutai," a short utai recited in drinking par...

Nohgakudo (能楽堂)

A theatre dedicated to Noh and kyōgen performances. It consists of the stage, the auditorium and anc...

On-matsuri-sarugaku (御祭猿楽)

A type of Sarugaku performed at the Wakamiya Festival at Wakamiya Shrine, an auxiliary shrine to Kas...

Onna-sarugaku (女猿楽)

A term referring to sarugaku performed by female actors, or to the actors who perform sarugaku. The ...

Riken (離見)

A term used in Zeami's treatises on Noh. It is used for actors leaving behind their own viewpoint an...

Hana (花)

A word referring to the charm of a stage performance. In his theories, Zeami likened Hana to "intere...

Keiko (稽古)

Practice or training. Noh and kyōgen actors train every day in various ways to build the big reperto...

Shimai-bakama (仕舞袴)

Actors who perform Mai-bayashi (digest performances with music) or solo dances, as well as assistant...

Kamae (構エ)

A posture viewed as a fundamental of acting alongside the basic Hakobi step. It is important for act...

Eigo-noh (英語能)

A play constructed in the traditional style of Noh with traditional techniques (vocals, dance and mu...

Ise-Sarugaku (伊勢猿楽)

A school of Sarugaku that was performed during shrine rituals at the Grand Shrine of Ise. According ...

Yatsubyōshi (八拍子)

The eight-beat Yatsubyōshi rhythm structure is the most basic in Noh. The vocals that match the rhyt...

Waranbe Gusa (わらんべ草)

Treatise of late Edo era kyōgen. Written by Yaemon Toraakira (1597-1662), 13 th generation head of t...

Renjishi (連獅子)

One of the kogaki of the Noh play Shakkyō. In the second half of the play in which a typical shishi ...

Haikyoku (廃曲)

Used in contrast to genkōkyoku, plays currently being performed, haikyoku refers to plays no longer ...

Kyōtokanzekaikan (京都観世会館)

Opened in the Sakyōku ward of Kyoto in 1958, this Nohgaku theatre is the home of the Kanze School of...

Reigen-noh (霊験能)

One type of Noh performance. These are Noh stories in which the human roles pray and recite Buddhist...

Riken-no-ken (離見の見)

Riken-no-ken, or “sight outside of sight,” is a term used in Ze’ami’s treatise on Noh, Kakyō. It ref...

Ran-noh (乱能)

Noh has many specialized roles including the shitekata, wakikata, hayashikata and kyōgenkata, and in...

Rangyoku (闌曲,蘭曲,乱曲)

In Ze’ami’s treatises on Noh, an actor who has reached the highest level of his craft is said to hav...

Ranjo (乱序)

A type of musical performance in Noh plays in which the music becomes the focus. One example is the ...

Yuminagashi (弓流)

A type of kogaki (noting a special type of performance) in the Noh play Yashima. The play tells the ...

Yubizuke (指付ケ)

One type of musical notation for flutes which describes the performance in lettering. When singing “...

Yarai Noh Theater (矢来能楽堂)

Rebuilt and reopened in September 1952, theYarai Noh Theater is owned by the Kanze Kyūkōkai. The the...

Musashino University NohgakuResearch Center (武蔵野大学能楽資料センター)

The research center was established to give an accurate portrayal of modern Noh, which now has a per...

Waseda University The Tsubouchi Memorial Theatre Museum (早稲田大学演劇博物館)

Houses a world-class collection of images and materials on theatre. It is also known by its nickname...

Ennen (延年)

A type of temple performance prevalent from the middle of the Heian era through the Kamakura era. En...

Shirabyōshi (白拍子)

A type of chanting and dance popular from the end of the Heian era through the Kamakura era, or, the...

Machi-iri-noh (町入能)

Edo-era Noh performed when the imperial court appointed a new “shogun in charge of conquering barba...

Noh-gaku Shorin (能楽書林)

Publisher handling both chant books and other Noh-gaku-related material. Noh-gaku Shorin is headqua...

Hishigi (ヒシギ)

Hishigi refers to a high, sharp tone of the Noh flute, and includes two types: a “hee”-type kata-hi...

Bangai (番外)

During the Edo era, Noh and kyōgen were the entertainment of the shogunate, and each school would su...

Shimotsuma Shōshin (下間少進)

Shimotsuma Shōshin lived from 1551 to 1616. He was a monk at Honganji and amateur Noh performer from...

Komi (コミ／込ミ)

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

Kakegoe (掛声／カケ声)

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

Han’noh (半能)

Han’noh is an abbreviated style of Noh performance. After the waki enters the stage, the part of the...

Tegumi (手組)

The smallest musical unit used by percussion instruments (kotsuzumi, ōtsuzumi, taiko) in Noh perfor...

Tachiai (立合)

Competitive performances between performers of different schools gathered on the same stage. Tachiai...

Dashioki (出シ置)

Dashioki refers to when the actors quietly appear from the curtain to take their designated places o...

Setsugekka (雪月花)

The three characters refer to the snow of the winter, moon of the fall and flowers of the spring (...

Shūshin-mono (執心物)

One type of Noh play, included in the yonbanme-mono (“fourth performance” or “random Noh”). The main...

Kouta (小歌)

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

Geki Noh (劇能)

A type of Noh that focuses on the internal struggles and psychology of the characters. The term is m...

Kurokawa Noh (黒川能)

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

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...

Kae (替エ)

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

Okinakazari (翁飾り)

Altar placed by the mirror near the curtain in performances of shikisanban (okina). While it differs...

Isshisōden (一子相伝)

Secrets and deep knowledge passed from a Noh practitioner to only one child. There are plays, perfor...

Katari (語リ)

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

Kurai (位)

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

Tsukurimono (作り物)

The props placed on the stage in Noh and kyōgen. As they are built individually for each performance...

Jigashira (地頭)

The lead performer/person responsible for the jiutai. There is no conductor in Noh, and no absolute ...

Furyū (風流)

Okina (properly referred to as shikisanban) has been called “Noh, yet not Noh,” as it is a special p...

Hayashimono (囃子物)

Plays that are sung and danced in kyōgen with a unique, bright and airy rhythm. These often include ...

Maibayash (舞囃子)

One style of Noh performance danced in montsuki or hakama (or occasionally kamishimo) in which the m...

Ibayashi (居囃子)

A performance style in which important parts of Noh plays are dance with the inclusion of the hayash...

Iroe (イロエ)

One of the movements of Noh (when hayashi is added to the movement of the performers). Most iroe inv...

Mondō (問答)

Performance in which making the exchange of lines between actors audible is the focus of the perfor...

Netori (音取)

One type of special hayashigoto in Noh (where the hayashi becomes the main part in a play). The net...

Enmeikaja (延命冠者)

Okina has been called “Noh, yet not Noh,” as it is really more a Shinto ritual or prayer song than ...

Chichinojō (父尉)

Okina has been called “Noh, yet not Noh,” as it is really more a Shinto ritual or prayer song than ...

Okinanashi (翁ナシ)

A type of special performance in okinatsuki-wakinoh which leaves out the okina. As the okina is lef...

Hankaikō (半開口)

A special performance among okinatsuki-wakinoh used in atypical wakinoh such as Tamai where there i...

Kaikō (開口)

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

Reiwaki (礼脇)

One type of special performance always included in okinatsuki-wakinoh. At the start of the play, th...

Okitsuzumi (置鼓)

A special type of hayashigoto (a part within the play performed mainly by the hayashi). The okituzu...

Ōshikihayamai (黄鐘早舞)

One type of dance in Noh. The soft dance of a male spirit soothing a heart filled with bitterness a...

Gaku (楽)

One type of dance in Noh. A dance said to take from gagaku, it is danced often in Noh plays related...

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...

Midare (乱)

One type of dance in Noh. Noh’s shojōmidare or midare is danced by a shite or shojō. The typical sh...

Shojōmidare (猩々乱)

One type of dance in Noh. Noh’s shojōmidare (or midare) is danced by a shite or shojō. The typical ...

Ranbyōshi (乱拍子)

One of the forms in Noh and kyōgen. Ranbyōshi, or “confused rhythm,” is when the maeshite or shiraby...

Izumi School (和泉流)

One of the kyōgenkata schools. Said to have been founded by Sasaki Gakurakuken in the middle of the ...

Kongoh School (金剛流)

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

Hōshō School (宝生流)

One of Noh’s shitekata schools. The founder is said to be either the son or brother of Kan’ami Kiyot...

Umewaka Troupe (梅若家)

One of Noh’s famous Shitekata Kanze troups. Tachibana no Moroe a, a government official in the first...

Kanze School (観世流)

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

Ōtsuzumi (大鼓)

The percussion instrument used by the ōtsuzumikata, literally “large drum.” The characters may also ...

Kotsuzumi (小鼓)

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

Oikomi (追い込み)

A style of ending a kyōgen performance, short for oikomidome. One character says “please forgive us,...

Dengaku (田楽)

Dengaku, or “field drama” comes from when hayashi or songs were performed during the planting of fie...

Nakashōmen (中正面)

Among the seats at a Noh stage or Noh theatre, the seats directly facing the stage are known as the ...

Honbutai (本舞台)

The center of the performance on a Noh stage. The honbutai, or “main stage,” faces the kensho (seati...

Shūgen (祝言)

Celebratory Noh played at the end of a day’s performance. Also known as shūgen-noh, in the official ...

Kiri Noh (切能)

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

Zatsu Noh (雑能)

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

Aimai (相舞)

Aimai refers to when two or more dancers dance simultaneously on the same stage. Aimai is also refer...

Kan’ami (観阿弥)

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

Yokohama Noh Theatre (横浜能楽堂)

A city-funded Noh Theatre that opened in Momijigaoka, Nishi-ku, Yokohama in June 1996. In addition t...

Nagoya Noh Theatre (名古屋能楽堂)

A city-funded Noh theatre that opened in Nagoya in Aichi Prefecture in front of the main entrance of...

National Noh Theatre (国立能楽堂)

The National Noh Theatre in Sendagaya, Tokyo opened in September 1983. In addition to 60 years of in...

Honwaki Noh (本脇能)

Plays full of the celebratory spirit that distinguishes waki Noh performances, including Takasago, Y...

Icchō (一調)

Performance of Noh with one percussionist (kotsuzumi, ōtsuzumi, taikō) and one utai. The performance...

Ikkan (一管)

The performance of the hayashigoto in Noh by only the fuekata. The ikkan is more difficult than typi...

Makeshura-mono (負修羅物)

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

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-...

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...

Hikazu Noh (日数能)

The continued performance of Noh over multiple days. In Shikisanban (Okina), there are different typ...

Bekka (別火)

A period of purifying fasting and abstention before the performance of Shikisanban (Okina), one of t...

Kimari Moyō (極リ模様)

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

Tsune-no-Ōgi (常の扇)

All of the performers in Noh and kyōgen, from the tachikata to the hayashikata, kōken and jiutai, ca...

Shirogashira (白頭)

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

Akagashira (赤頭)

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

Kurogashira (黒頭)

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

Nohkan (能管)

The flute used by the fuekata in Noh and kyōgen. The nohkan is also simply called the fue. As the no...

Kanjin noh (勧進能)

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

Shirabe (調べ)

Tuning of musical instruments done in the room behind the entrance curtain. Usually known as "oshira...

Deha (出端)

Used for many different types of characters, the order of the deha performance also varies greatly d...

Nori (ノリ)

Term used in reference to the overall tempo and rhythm of a Noh or kyōgen. The performance can be sa...

Johakyū (序破急)

A performance theory in Noh and kyōgen that divides the structure, performance and speed of plays in...

Okitsunaki (翁付)

A playlist that begins with the performance of shikisanban (okina). When Noh was designated a shikig...

Hiramono (平物)

Used in reference to regular plays and performance styles in contrast with narai and narai mono. Eve...

Hotokedaore (仏倒れ)

Performance that represents death or falling unconscious. The performer bends over backwards and fal...

Shōga (唱歌)

A written representation of an instrumental performance. There are two types of shōga, those that in...

Mōshiawase (申し合わせ)

Point in the performance at which the rhythm is kept with only the ōgi (hari-ōgi), no ōtsuzumi or o...

Tabi (足袋)

The hakobi, or “movement” of the legs is so important in Noh that it is referred to as “the art of ...

Omote (面)

The masks used in Noh and kyōgen, known as either omote or men. Many characters wear masks in Noh, a...

Hakama-noh (袴能)

Hakama-noh refers to when the actor performs in a montsuki-hakama without a mask or costume. For the...

Hakobi (運ビ)

A basic step in Noh and kyōgen. Hakobi essentially refers to a step in which the sole of the foot sl...

Hakushiki (白式 )

In Nohgaku, haku, or “white” objects are treated with the utmost reverence. To elevate the standing ...

Kaeai (替間)

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

Kutsurogu (くつろぐ)

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

Shidai (次第)

One of the hayashigoto of Noh (a part of the play where the hayashi plays the main role). While shid...

Shikaridome (叱リ留)

A type of kyōgen performance that ends with the master scolding his servant, giving it its meaning “...

Shōgi (床几)

The kazuraoke, or chair used by the shitekata, wakikata and kyōgenkata. The shōgi is around 50cm tal...

Shiori (シオリ)

A movement indicating crying – the hand with extended fingers is held slightly in front of the face,...

Machi Utai (待謡)

The shōdan including the vocal sung by the waki who waits (machi) for the entrance of the nochishite...

Terasu (テラス)

Angling the mask slightly upward is known as terasu, or “to make a happy face,” and angling the mask...

Kumorasu (クモラス)

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

Waraidome (笑イ留)

Waraidome, or “ending laugh,” is a type of kyōgen performance ending with a great laugh. For example...

Narai (習)

Narai are plays and performances that require special permission to be performed. Narai are both tec...

Oshirabe (お調べ)

Oshirabe refers to the hayashikata tuning their instruments before the performance of Noh. The hayas...

Kizahashi (階)

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

Hanmaku (半幕)

Meaning “half curtain,” the hanmaku is the point at which the bottom half of the agemaku is raised w...

Kakeri (カケリ)

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

Kogaki (小書)

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

Issei (一セイ)

Issei, or “one voice,” is a short vocal sung directly after the entrance of the shite. They are ofte...

Kuri (クリ)

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

Ageuta (上歌)

Noh chants are made up of numerous shōdan, and ageuta refers to the shōdan or their form. Beginning ...

Ashirai (アシライ)

Written with the same kanji as “to bow,” this extremely widely used term essentially means “to atten...

Kusemai (曲舞)

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

Hiraki (披キ)

A narai, or “advanced practice play” of a nohgakushi, or the first time this play is played. Narai a...

Shimai (仕舞)

A type of performance accentuating the movement of the shite danced in the crest-adorned kimono know...

Kuse (クセ)

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

Goban Date (五番立)

In the Edo era, Noh began to be performed as entertainment for the Shogunate, and the official style...

Jōza (常座)

Term indicating an area of the stage. Within the three-section, rectangular main stage surrounded by...

Kōken (後見)

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

Jiutaikata (地謡方)

The chorus of performers that sings the verses to certain Noh sequences, around eight jiutaikata sit...

Ai (アイ)

Ai, written with the kanji meaning “middle,” refers to the role of the kyōgenkata in Noh. Appearing ...

Waki (ワキ)

Waki, written with the kanji meaning “side,” is the supporting actor in Noh. The waki has an importa...

Shite (シテ)

The lead role in Noh and kyōgen. Written in kanji as either “doing-hand” or “useful-hand,” the shite...

Hashigakari (橋掛り)

The hashigakari is the name for the bridge-like section connecting the main stage protruding into th...

Kensho/Kenjo (見所)

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

Oni Mono (鬼物)

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

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...

Shura Mono (修羅物)

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

Waki-noh Mono (脇能物)

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

Okina (翁)

Okina has been called “Noh, yet not Noh,” as it is really more a Shinto ritual or prayer song than a...