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船弁慶 Funabenkei(関根知孝 村瀬純 高梨万里) © Toshiro Morita |
One of noh’s characteristics is that it is “simple.” Unlike Kabuki or modern theatre, the stage for noh does not contain large set pieces or many props. In addition, the audience is not cut off from the open stage by a curtain.
In the singing of noh, the leadership responsibilities on stage are shared between the chorus and the musicians. They, along with the performers, all appear on the stage together. The music, like the movement, is stripped down to create a sparse, concentrated atmosphere wherein the vocal and instruments can better express through nuance.
For “Movement Patterns” click here,
From the Meiji Period (1868-1912), noh was widely introduced overseas to many thinkers and theatre artists, and their work was greatly influenced by what they saw and heard. From the 1950’s the establishment of performances of noh outside of Japan increased its visibility. Due to the high regard in which the international community came to think of noh, it was designated an Intangible Cultural Heritage.
For “Noh and International Cultural Exchange” click here,
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