Noh, Nō, No

Noh are dramatic performances with dance, music, and poetry. The character for Noh, “能”, is derived from the Chinese neng, which means “to be able,” or “ability.” The plays combine chanting, mime, and slow dance poses with music and elaborate costumes and masks. The subject of the plays comes from history, legend, and magic and is highly influenced by Buddhism. For instance, there is a famous play, Atsumori by Seami (or Zeami) Motokiyo, based on an episode in The Tale of the Heike, which is a historical account with a Buddhist theme. Noh is sometimes compared to Greek drama with its use of a chorus, stylized performances, and the use of masks.

Ashikaga Yoshimitsu (1358-1408), the third Ashikaga shogun, grew up with close ties to the court and nobles and took on many of their sentiments about art and culture. He helped foster the arts, especially Noh, as the patron of Zeami Motokiyo, the actor considered to be Noh’s founder. He retired from public offices and took tonsure, moving into

Kitayama Culture (Kitayama bunka, “north mountain culture”) occurred during the rule of Ashikaga Yoshimitsu. It is named for the Kitayama region of Kyoto where Yoshimitsu built his retirement villa, Kitayama-dono, which had a pavilion covered in gold leaf. Today it is known as Kinkaku-ji (Temple of the Golden Pavilion). Yoshimitsu encouraged the development of noh or nō drama, renga or linked verse in poetry, and painting. Kitayama Bunka is considered to end at the death of Ashikaga Yoshinori (1394-1441), the sixth Ashikaga shogun, who was assassinated at a Noh play.

During the Kitayama bunka, Noh was popularized by Seami Motokiyo (1363- 1443) and his father Kan’ami (1333-1384). Seami performed before Ashikaga Yoshimitsu, who was so impressed with young man that he introduced Seami to the court and provided Seami with an education while allowing him to continue to act. After Kan’ami died, he took over the family troupe in 1385. Noh matured with Seami.

Seami’s plays incorporated classical and modern themes, both Japanese and Chinese traditions, and many Zen Buddhist themes into his works. He wrote somewhere between 30 and 50 plays. Currently, most of the plays that are performed were written by him. He also wrote many treatises on Noh, discussing the philosophy of the performance.

In his writings Seami likened proper acting in Noh to a watching a flower unfolding its petals – the precise moment of complete opening is something unusual and unexpected. Yūgen is considered to be the mark of supreme attainment in all arts and accomplishments. Yūgen is a Noh term used to describe the profound, the remote, and the mysterious producing something elegant. In Noh the manifestation of yūgen is the most important aspect. Seami said that the actor must exhibit yūgen, which results in the opening of the flower effect. It is the chief artistic principal. Yūgen should be expressed not only in scenes with youth and beauty but also in scenes that would not normally conjure elegance and beauty. 

Noh became so popular that shoguns and warlords performed with professional actors.

Ashikaga Yoshimitsu’s grandson, Ashikaga Yoshimasa (1435-1490) assembled many great artists and established the Higashiyama bunka at his retreat at Ginkaku-ji (The Temple of the Silver Pavilion). Their artistic ideal and aesthetics were heavily influence by Zen Buddhism with the concept of wabi-sabi (beauty in simplicity). Higashiyama Bunka artists furthered the development of the several art forms, including Noh. These art forms all encompass ritual, restraint, and harmony with Buddhist ideals of contemplation, emptiness, and profound truth beyond words.

As a practical aside to one contemplating a Kyoto trip, Noh uses an ancient form of the Japanese language, akin to a Shakespearean play in English. It would certainly be advisable to learn as much as possible about this art form before deciding whether to attend a performance. There are several options available in Kyoto.