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It is perhaps in the theatre that ''jo-ha-kyû'' is used the most extensively, on the most levels. In following with the writings of Zeami, all major forms of Japanese traditional drama (Noh, [[kabuki]], and ''[[bunraku|jôruri]]'') utilize the concept of ''jo-ha-kyû'' in the choice and arrangement of plays across a day, to the composition and pacing of acts within a play, down to the individual actions of the actors.
It is perhaps in the theatre that ''jo-ha-kyû'' is used the most extensively, on the most levels. In following with the writings of Zeami, all major forms of Japanese traditional drama (Noh, [[kabuki]], and ''[[bunraku|jôruri]]'') utilize the concept of ''jo-ha-kyû'' in the choice and arrangement of plays across a day, to the composition and pacing of acts within a play, down to the individual actions of the actors.
Zeami, in his work "''[[Sando|Sandô]]''" (The Three Paths), originally described a five-part (five ''dan'') Noh play as the ideal form. It begins slowly and auspiciously in the first part (''jo''), building up the drama and tension in the second, third, and fourth parts (''ha''), with the greatest climax in the third ''dan'', and rapidly concluding with a return to peace and auspiciousness in the fifth ''dan'' (''kyû'').<ref>Quinn, Shelley Fenno. "How to write a Noh play - Zeami's ''Sandō''." ''Monumenta Nipponica'', vol 48, issue 1 (Spring 1993). pp58-62</ref>
===Noh===
Zeami, chiefly in his works "''[[Fushikaden|Fûshikaden]]''" and "''[[Sando|Sandô]]''," described a five-part (five ''dan'') Noh play as the ideal form. It begins slowly and auspiciously in the first part (''jo''), building up the drama and tension in the second, third, and fourth parts (''ha''), with the greatest climax in the third ''dan'', and rapidly concluding with a return to peace and auspiciousness in the fifth ''dan'' (''kyû'').<ref>Quinn, Shelley Fenno. "How to write a Noh play - Zeami's ''Sandō''." ''Monumenta Nipponica'', vol 48, issue 1 (Spring 1993). pp58-62</ref> In addition, the ''jo'' should be relatively simple and straightforward, with the plot and drama being developed in the ''ha'' sections, while the ''kyû'' portion should be energetic, and come quickly to a close.<ref name=sando/>
Further, as Zeami explained chiefly in his "''[[Kakyo|Kakyô]]''," each of these five-part plays would form one portion of a day's program, which also followed the ''jo-ha-kyû'' pacing. In an ideal five-play program, consisting of one play from each of the five categories of Noh pieces, a god play would begin the program auspiciously and straightforwardly, corresponding to the ''jo'', or introduction, of the program. A warrior play would represent the continuation of the ''jo'', transitioning into the ''ha'' of the day's performance. The third and fourth plays of the program, typically a woman play<ref>That is, a play with a female leading (''shite'') role.</ref> and a madwoman or miscellaneous category play respectively, would continue the program, also being considered firmly within the ''ha'' portion of the program. Zeami warned that entering the ''kyû'' too early in the program, that is, drawing it out over the length of time of more than one piece, would violate the concept of the ''kyû'', which is meant to be a swift ending. Thus, the fifth and final play of the program, typically a demon play or other "ending play," would energetically and swiftly bring the program to a close on an upbeat and exciting note.<ref>Quinn, ''Developing Zeami'', 129-130.</ref>
Finally, as perhaps most clearly stated in Zeami's ''[[Jûgyoku tokka|Shûgyoku tokuka]]'', the pattern of ''jo-ha-kyû'', starting slowly and straightforwardly, developing and speeding up, and then ending energetically and quickly, was advised to be incorporated into every element of movement, music, or vocalization.<ref>Quinn, ''Developing Zeami'', 130.</ref>
===Jôruri===
This same conception was later adapted into ''jôruri'' and kabuki, where the plays are often arranged into five acts according to the same rationales. [[Takemoto Gidayu|Takemoto Gidayû]], the great ''jôruri'' chanter, was the first to describe the patterns or logic behind the five acts, which parallel as well the five categories of Noh which would be performed across a day.<ref>Gerstle, Drew (2001). ''Chikamatsu: Five Late Plays''. New York: Columbia University Press. pp16-17.</ref>
This same conception was later adapted into ''jôruri'' and kabuki, where the plays are often arranged into five acts according to the same rationales. [[Takemoto Gidayu|Takemoto Gidayû]], the great ''jôruri'' chanter, was the first to describe the patterns or logic behind the five acts, which parallel as well the five categories of Noh which would be performed across a day.<ref>Gerstle, Drew (2001). ''Chikamatsu: Five Late Plays''. New York: Columbia University Press. pp16-17.</ref>
