Changes

Noh is traditionally divided into five categories of plays. Each category is defined by the types of characters it features, representing different themes, but also different points in a ''[[jo-ha-kyu|jo-ha-kyû]]'' progression, making the categories particularly suitable for being performed in a particular sequence, from First Category to Fifth, in order, in a full program.

Noh is traditionally divided into five categories of plays. Each category is defined by the types of characters it features, representing different themes, but also different points in a ''[[jo-ha-kyu|jo-ha-kyû]]'' progression, making the categories particularly suitable for being performed in a particular sequence, from First Category to Fifth, in order, in a full program.

#First Category - God Plays. 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.

#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.