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*''Waki'' (lit. "to the side") - the ''waki'' plays the chief character who interacts with the ''shite''. Though often human, and not demon, god, or spirit, and though typically with a less ornate costume, the ''waki'' often has more stage time and more lines than the ''shite''. This role is always a living person, nearly always male, and tends to often be a wandering monk, another sort of traveler, or a local fisherman or farmer. ''Waki'' roles include the boatman in ''Sumidagawa'', the monk [[Kumagae Naozane|Renshô]] in ''Atsumori'', and the fisherman in ''Hagoromo''.
*''Waki'' (lit. "to the side") - the ''waki'' plays the chief character who interacts with the ''shite''. Though often human, and not demon, god, or spirit, and though typically with a less ornate costume, the ''waki'' often has more stage time and more lines than the ''shite''. This role is always a living person, nearly always male, and tends to often be a wandering monk, another sort of traveler, or a local fisherman or farmer. ''Waki'' roles include the boatman in ''Sumidagawa'', the monk [[Kumagae Naozane|Renshô]] in ''Atsumori'', and the fisherman in ''Hagoromo''.
*''Tsure'' (lit. "accompanying") - divided into ''wakitsure'' and ''shite-tsure'', the ''tsure'' actors play figures accompanying the main roles. In many plays where the ''waki'' is a wandering monk, for example, the ''tsure'' play other monks accompanying him.
*''Tsure'' (lit. "accompanying") - divided into ''wakitsure'' and ''shite-tsure'', the ''tsure'' actors play figures accompanying the main roles. In many plays where the ''waki'' is a wandering monk, for example, the ''tsure'' play other monks accompanying him.
*Chorus (J: ''jiutai'') - Noh features a chorus visible and seated onstage at stage left, facing towards stage right. The chorus chants narration, as well as often chanting lines for the characters.
*Chorus (J: ''jiutai'') - Noh features a chorus of six to ten people, usually eight, visible and seated onstage at stage left, facing towards stage right. The chorus generally chants narration, as well as often chanting lines for the characters. Members of the chorus are typically ''shite'' actors themselves, though originally (in Zeami's time) it was ''waki'' actors who composed the chorus.<ref>Quinn, ''Developing Zeami'', 132.</ref>
*''Hayashi'' - in Noh, the musicians, known as the ''hayashi'', sit along the rear wall, facing the audience. They play a variety of instruments, chiefly flute (''[[nokan|nôkan]]'') and several types of drums. Unlike in the [[Edo period]] theater forms of [[kabuki]] and [[ningyo joruri|ningyô jôruri]], Noh does not incorporate [[shamisen]] or other string instruments.
*''Hayashi'' - in Noh, the musicians, known as the ''hayashi'', sit along the rear wall, facing the audience. They play a variety of instruments, chiefly flute (''[[nokan|nôkan]]'') and several types of drums (''[[kotsuzumi]]'', ''[[otsuzumi|ôtsuzumi]]'', and ''[[shimedaiko]]''). Unlike in the [[Edo period]] theater forms of [[kabuki]] and [[ningyo joruri|ningyô jôruri]], Noh does not incorporate [[shamisen]] or other string instruments.
*''Kôken'', or "stage assistants," handle a variety of tasks including helping adjust actors' robes, handling props, and assisting in onstage costume changes. Insofar as they are not characters present in the world (setting/plot) of the play, they are meant to be ignored by the audience, though they make little overt effort to hide themselves.
*''Kôken'', or "stage assistants," handle a variety of tasks including helping adjust actors' robes, handling props, and assisting in onstage costume changes. Insofar as they are not characters present in the world (setting/plot) of the play, they are meant to be ignored by the audience, though they make little overt effort to hide themselves.
Beyond these five categories, Noh plays can also be classified in a number of other ways. One of the chief divisions is between ''genzai Noh'' ("now" Noh), which reenact elements of famous stories, taking place during the lives of the characters, and ''mugen Noh'' (lit. "unlimited" or "infinite" Noh, referring to the unlimited depths of mystery and spiritual aesthetic), which feature spirits, (re)appearing after their demise. Some of the most famous ''genzai Noh'' are ''Ataka'', ''Sumidagawa'', and ''[[Hagoromo]]'', while ''mugen Noh'' include ''Atsumori'', ''Matsukaze'', and ''[[Takasago]]''.
Beyond these five categories, Noh plays can also be classified in a number of other ways. One of the chief divisions is between ''genzai Noh'' ("now" Noh), which reenact elements of famous stories, taking place during the lives of the characters, and ''mugen Noh'' (lit. "unlimited" or "infinite" Noh, referring to the unlimited depths of mystery and spiritual aesthetic), which feature spirits, (re)appearing after their demise. Some of the most famous ''genzai Noh'' are ''Ataka'', ''Sumidagawa'', and ''[[Hagoromo]]'', while ''mugen Noh'' include ''Atsumori'', ''Matsukaze'', and ''[[Takasago]]''.
==Play Structure==
[[File:Miyajima-noh.jpg|right|thumb|350px|The Noh stage at [[Itsukushima Shrine]] on [[Miyajima]], one of the oldest Noh stages in the country.]]
''Mugen Noh'' often follow a certain structure, with a monk or other wanderer, played by the ''waki'', arriving at a famous place, and commenting on its association with a famous character or story (e.g. from the Tales of Heike, Genji, Ise, or poetry) before stopping there to take a rest. He then meets a local person, such as a farmer, played by the ''shite'', and the two discuss that famous episode. Following a ''[[kyogen|kyôgen]]'' intermission (''ai-kyôgen''), in which a ''kyôgen'' actor retells the same story in a more lively and easier to understand fashion, the ''shite'' character reveals himself to be the spirit of the chief character associated with that place. He then dances a dance representing his emotional struggle, while the monk prays for the spirit's release. The play ends with the spirit disappearing. There is often a strong implication of the ''waki'' questioning whether his meeting the local person, and the spirit, truly happened, or was merely a dream. For the audience, too, there can be a feeling of questioning whether one merely witnessed a play, or whether the spirit manifested on the stage.
''Mugen Noh'' often follow a certain structure, with a monk or other wanderer, played by the ''waki'', arriving at a famous place, and commenting on its association with a famous character or story (e.g. from the Tales of Heike, Genji, Ise, or poetry) before stopping there to take a rest. He then meets a local person, such as a farmer, played by the ''shite'', and the two discuss that famous episode. Following a ''[[kyogen|kyôgen]]'' intermission (''ai-kyôgen''), in which a ''kyôgen'' actor retells the same story in a more lively and easier to understand fashion, the ''shite'' character reveals himself to be the spirit of the chief character associated with that place. He then dances a dance representing his emotional struggle, while the monk prays for the spirit's release. The play ends with the spirit disappearing. There is often a strong implication of the ''waki'' questioning whether his meeting the local person, and the spirit, truly happened, or was merely a dream. For the audience, too, there can be a feeling of questioning whether one merely witnessed a play, or whether the spirit manifested on the stage.
Zeami plots out an ideal Noh play in five ''dan'', or parts. The following is a slightly lengthier and more detailed description of what is summarized above.
#The first ''dan'' of the ideal Noh play, representing the ''jo'' of the play's overall ''[[jo-ha-kyu|jo-ha-kyû]]'' structure, opens with the ''waki'' entering, introducing the setting, and setting the tone for the play. His entrance is accompanied by an introductory style of music called ''shidai''. He typically introduces himself, announcing his name and reason for being in that place. The first ''dan'' often ends with the ''waki'' chanting a brief ''michiyuki'' chant, signifying travel and arrival at a destination.
#The second ''dan'' marks the entrance of the ''shite'' character, typically to an ''issei'' chant, and the play's transition from its introductory ''jo'' portion to the ''ha'' portion, in which the plot develops and complexity and drama are introduced. In a two-act play, the ''shite'' is at this point typically disguised as a local person or a monk.
#In the third ''dan'', the ''waki'' and ''shite'' characters engage in conversation (''mondô''), leading into a more heightened exchange (''kakeai''). In many plays, this takes the form of the ''waki'' character expressing curiosity about the history of the place, or about the historical or legendary events said to have taken place there, with the ''shite'', often the ghost of the primary figure in those events in disguise, providing explanation. This ''dan'' often ends with a dramatic, climactic ''ageuta'' chant by the chorus.
#The fourth ''dan'' is the climactic center of the typical Noh play, at which the dramatic and emotional tension is at its peak, and the narrative of the play is explained out the most fully. In a warrior or woman play, for example, the ''shite'' character, though still having not revealed his/her identity, will now explicate a fuller version of their story. In this section, action and chant is performed more exclusively by the ''shite'' and the chorus, often with the chorus chanting the ''shite'' character's lines while the ''shite'' actor dances, with the ''waki'' having considerably lessened involvement. This section typically features either a ''kuse'' chant, or what is known as ''tada utai'' (plain chant in the ''[[kouta]]'' style), the form more original to Yamato ''sarugaku''.
#The fifth ''dan'' represents the ''kyû'' portion of the play's ''jo-ha-kyû'' structure, and presents an energetic, dramatic, and quick conclusion to the play. In a two-act play, the fifth ''dan'' alone typically comprises the second act, with the ''shite'' actor changing costume during the interval, in order to reveal his true identity (e.g. as a ghost, god, or demon) in the final ''dan''. This act typically consists chiefly of a visually spectacular dance, accompanied by the ''hayashi'' musicians.
==Performance==
The chant (''utai'') is typically performed in lines of eight, twelve, or sixteen syllables, aligning or intentionally mis-aligning with a pattern of eight drum beats.
The musicians of the ''hayashi'' are advised in Zeami's ''[[Shudosho|Shûdôsho]]'' to adjust their performance to the ''shite'' actor. In Noh, as in kabuki, it is not the text which is the supreme authority as to how a play should be performed, but rather the lead actor (though the actor, of course, performs largely in accordance with tradition). The drummers are advised to adjust their playing in accord with the spirit or intent (''kokoro'') of the actor, and the flute player similarly adjusts his pitch in accordance with the "fragrance" of the actor's voice.<ref>Quinn, ''Developing Zeami'', 135.</ref>
==History==
==History==
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==References==
==References==
*Thomas Hare, ''Zeami Performance Notes'', Columbia University Press (2008).
*Thomas Hare, ''Zeami Performance Notes'', Columbia University Press (2008).
*Shelley Fenno Quinn, ''Developing Zeami'', University of Hawaii Press (2005).
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[[Category:Poetry and Theater]]
[[Category:Poetry and Theater]]
[[Category:Muromachi Period]]
[[Category:Muromachi Period]]