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Yamato ''sarugaku'', in the time of Kan'ami and Zeami, specialized in ''monomane'' - imitation or mimicry of characters or character types. As Zeami sought to adapt his art to make it more appealing to cultivated elite Kyoto audiences, he struggled to maintain this strength while incorporating elements such as the Ômi ''sarugaku'' focus on cultivating a mood or atmosphere of mysterious beauty (''yûgen''). Through the incoporation of various elements from Ômi ''sarugaku'', ''kusemai'', and other art forms, as well as other innovations, Zeami developed Yamato ''sarugaku'' into a form featuring lengthier narratives and deeper themes, blending ''monomane'' with ''yûgen'' and other aesthetics to achieve an artistic effect (''kakari'') and deeper aesthetic impact.
Yamato ''sarugaku'', in the time of Kan'ami and Zeami, specialized in ''monomane'' - imitation or mimicry of characters or character types. As Zeami sought to adapt his art to make it more appealing to cultivated elite Kyoto audiences, he struggled to maintain this strength while incorporating elements such as the Ômi ''sarugaku'' focus on cultivating a mood or atmosphere of mysterious beauty (''yûgen''). Through the incoporation of various elements from Ômi ''sarugaku'', ''kusemai'', and other art forms, as well as other innovations, Zeami developed Yamato ''sarugaku'' into a form featuring lengthier narratives and deeper themes, blending ''monomane'' with ''yûgen'' and other aesthetics to achieve an artistic effect (''kakari'') and deeper aesthetic impact.
''Kyôgen'' pieces, which today typically serve as the comic interlude between acts of a Noh play, are known to have been performed alongside ''sarugaku''/Noh (i.e. on the same program) since at least the mid-14th century. Ever since then, they have become closely intertwined, and have developed to a certain extent in parallel.<ref>Andrew Tsubaki, "The Performing Arts of Sixteenth-Century Japan: A Prelude to Kabuki," ''Educational Theatre Journal'' 29:3 (1977), 301.</ref>
Zeami, along with his sons and grandsons, composed many plays which remain central to the repertoire today. His line developed into the [[Kanze school]], the oldest of the five main schools of Noh, with the other four schools becoming established over the centuries, some as late as the [[Edo period]], though all five are quite firmly established today.
Zeami, along with his sons and grandsons, composed many plays which remain central to the repertoire today. His line developed into the [[Kanze school]], the oldest of the five main schools of Noh, with the other four schools becoming established over the centuries, some as late as the [[Edo period]], though all five are quite firmly established today.