Changes

#First Category - God Plays (''kami Noh'' or ''waki Noh''). Typically with a minimum of plot, so-called "god plays" are employed as an auspicious opening to a performance program, and often feature specific deities or other auspicious figures. Corresponding to the ''jo'' (Introduction) of ''jo-ha-kyû''.

#First Category - God Plays (''kami Noh'' or ''waki Noh''). Typically with a minimum of plot, so-called "god plays" are employed as an auspicious opening to a performance program, and often feature specific deities or other auspicious figures. Corresponding to the ''jo'' (Introduction) of ''jo-ha-kyû''.

#Second Category - Warrior Plays. Typically featuring famous warriors from epics such as the ''[[Tale of the Heike]]'', warrior plays often focus on releasing the spirit of a dead warrior from Buddhist attachment to ideas of regret and revenge, and to the place and circumstances of his death. These often end in the ''shite'' as the warrior spirit dancing a reenactment of a famous episode from his life, narrated by the chorus. ''[[Atsumori]]'' is a particularly representative example.

#Second Category - Warrior Plays. Typically featuring famous warriors from epics such as the ''[[Tale of the Heike]]'', warrior plays often focus on releasing the spirit of a dead warrior from Buddhist attachment to ideas of regret and revenge, and to the place and circumstances of his death. These often end in the ''shite'' as the warrior spirit dancing a reenactment of a famous episode from his life, narrated by the chorus. ''[[Atsumori]]'' is a particularly representative example.<br>There are sixteen warrior plays (''shuramono'') in the current Noh repertoire; the majority of them draw upon the ''Tale of the Heike''. Figures from the ''Heike'' are also the protagonists in 33 of the 50 extant ''[[kowaka-mai|kôwaka-mai]]''.<ref>Helen McCullough trans., ''The Tale of the Heike'', Stanford University Press (1990), 9</ref>

#Third Category - Women Plays. Typically featuring female characters from the ''[[Tales of Ise]]'', ''[[Tale of Genji]]'', or other [[Heian period]] texts, women plays often focus on releasing the spirit of a woman from Buddhist attachment to a man who left her waiting. ''[[Matsukaze]]'' is a particularly representative example.  

#Third Category - Women Plays. Typically featuring female characters from the ''[[Tales of Ise]]'', ''[[Tale of Genji]]'', or other [[Heian period]] texts, women plays often focus on releasing the spirit of a woman from Buddhist attachment to a man who left her waiting. ''[[Matsukaze]]'' is a particularly representative example.  

#Fourth Category - Madwoman and Miscellaneous Plays. As the term "miscellaneous" implies, this category includes a variety of different sorts of plays. ''[[Ataka]]'', a ''genzai Noh'' telling the story of [[Yoshitsune]] and [[Benkei]] at the [[sekisho|checkpoint barrier]] at Ataka, is a prominent play in this category. ''[[Sumidagawa]]'' is particularly representative of the sub-category of "madness plays" (''monogurui Noh''), which feature characters grieving over a lost loved one.

#Fourth Category - Madwoman and Miscellaneous Plays. As the term "miscellaneous" implies, this category includes a variety of different sorts of plays. ''[[Ataka]]'', a ''genzai Noh'' telling the story of [[Yoshitsune]] and [[Benkei]] at the [[sekisho|checkpoint barrier]] at Ataka, is a prominent play in this category. ''[[Sumidagawa]]'' is particularly representative of the sub-category of "madness plays" (''monogurui Noh''), which feature characters grieving over a lost loved one.