Changes

#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.

#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 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.

#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. In many ''mugen Noh'', this dance is a reenactment of the traumatic incident in the character's life to which the character is still emotionally attached; through reenacting the event, the ghost works through his or her trauma, and finds release. In other plays, such as ''Hagoromo'', this is a more literal dance, performed for the ''waki'' character as spectator.

==Performance==

==Performance==