Noh Plays
Zeami Motokiyo
(1363-1443 C.E.)
Appeared distinctively in the fourteenth century Japan
Noh (also spelled Nō, meaning “talent” or “skill”) theatre is a traditional Japanese theatrical form that came to have a distinctive form in the fourteenth century and continued to develop up to the Tokugawa period (1603-1867). Noh theatre, one of the oldest extant theatre forms in the world, has been handed down from generation to generation, keeping its early forms fairly intact. Unlike performers of Kabuki (another traditional Japanese theatrical form) who use elaborate makeup, Noh performers wear masks. Compared to typical western theatre, a Noh play is relatively short without a lot of action; instead, Noh performers emphasize sounds and movements as visual metaphors suggesting the story on stage. Traditionally, they were performed mainly for the warrior class, whereas currently this theatre is protected and supported at the national level. Zeami Motokiyo, along with his father, wrote many of the most exemplary Noh plays. Zeami also formulated the principles of the Noh theatre. There are five types of Noh plays: the plays about 1) gods, 2) warriors, 3) a female protagonist, 4) a madwoman in a contemporary setting, and 5) devils, monsters, and supernatural beings. Zeami’s play “Atsumori,” for example, belongs to the plays about warriors. It dramatizes a wellknown episode from The Tale of the Heike (ca. 1240 C.E.), a famous, medieval Japanese epic.
Written by Kyounghye Kwon
The Nō Plays of Japan
Arthur Waley
License: Public Domain
Introduction
The theatre of the West is the last stronghold of realism. No one treats painting or music as mere transcripts of life. But even pioneers of stage-reform in France and Germany appear to regard the theatre as belonging to life and not to art. The play is an organized piece of human experience which the audience must as far as possible be allowed to share with the actors.
A few people in America and Europe want to go in the opposite direction. They would like to see a theatre that aimed boldly at stylization and simplification, discarding entirely the pretentious lumber of 19th century stageland. That such a theatre exists and has long existed in Japan has been well-known here for some time. But hitherto very few plays have been translated in such a way as to give the Western reader an idea of their literary value. It is only through accurate scholarship that the “soul of Nō” can be known to the West. Given a truthful rendering of the texts the American reader will supply for himself their numerous connotations, a fact which Japanese writers do not always sufficiently realize. The Japanese method of expanding a five-line poem into a long treatise in order to make it intelligible to us is one which obliterates the structure of the original design. Where explanations are necessary they have been given in footnotes. I have not thought it necessary to point out (as a Japanese critic suggested that I ought to have d