Nōgaku

Nōgaku has been transmitted uninterruptedly for over 650 years. It emerged in the 14th century, combining various pre-existing arts. Playwright and performer Zeami Motokiyo (1363-1443) perfected the art, integrating chanted poetry, dance, and mimetic acting techniques. Aristocratic patronage of  nō and kyōgen began during Zeami’s time. From the early seventeenth century, nōgaku became the official art of the military government, undergoing a phase of canonization of the repertory and performance techniques that lasted up to 250 years. With the modernization of Japan in the late 19th century, nōgaku lost its aristocratic patronage and gained new sponsors from the emerging bourgeoisie. After the Second World War, nō troupes began performing abroad and interacting with performers of other arts.

Nō challenges genre categorization. It can be defined as “theatre” as its plays develop out of texts and feature characters who act within a defined narrative. However, many nō plays do not portray actions structured in logical cause-consequence order. Rather than staging a story, they depict a feeling. Instead of portraying chains of subordinated events, they present coordinations or associations of images. Some plays center on a single happening, while others may depict various events spanning several years. Moreover, large portions of nō plays are dedicated to re-telling past stories, often fusing narration of events with descriptions of a location, character, or state of mind.

Text in nō is either recited or sung, never spoken. Performers interpret a small number of characters, exchanging lines or singing solo. Additionally, a chorus sings lines that could be attributed to a character or could complement or comment on the narration. A small ensemble of instruments plays live on stage during most of the performance, sometimes becoming the main element. All onstage actions are minutely choreographed. Performers embody characters through precise choreographies, with gestures timed to the lyrics, enhancing the images evoked by text and chant. A performer may not only interpret a single character interacting with others but can also physically express anything described through song or recitation. For example, the performer may gesture to indicate a flock of birds crossing the evening sky, the battle cries of a ghost army, the delicate fragrance of plum blossoms, or the dark depth of the sea. Gestures also depict abstract ideas or feelings, such as realizing past happiness will not return, resenting an unfaithful lover, or feeling joy in reaching enlightenment. At the peak of emotion, gestures are released from words and become pure dance and music.

The stage is a raised square wooden platform with pillars at the corners supporting a heavy roof. It connects to the backstage area via a passageway lined with three small pine trees. At the rear of the main stage is a large permanent painting of a pine tree, the only backdrop for the performance. One of the most striking features of nō is the richness of its costumes and masks set against the minimal background. A typical nō play features only a few actors draped in lavish costumes. Some wear refined masks capable of producing a wide range of subtle expressions. Masks and costumes express the identity of a character.