User:Artem.G/sandbox4

This glossary gives a general overview of terms related to the Japanese theater like Noh and Kabuki, performing arts, and dances. A concise description is given for each term; more details are given in their respective articles. The glossary does not include personalia and plays.

A

Akobujō: A type of Noh mask (能面) representing an elderly male character, characterized by its dignified expression and architectural features. Used in plays featuring aristocratic characters or spirits.
Angama: A traditional folk dance from the Yaeyama Islands of Okinawa, performed during festivals and celebrations. Features dynamic movements and distinctive local musical accompaniment.
Angura: Underground (アングラ) theater movement that emerged in Japan in the 1960s as an experimental and avant-garde form of theater. It challenged both Western-style shingeki and traditional Japanese theater forms, often performing in non-traditional spaces.
Aragoto: A rough, masculine style of kabuki acting (荒事, "rough business") characterized by exaggerated movements, bombastic speeches, and dynamic poses. Often features heroes and warriors with bold red makeup and extravagant costumes. This style was developed in Edo and is especially associated with the Ichikawa family of actors.
Atsuita: A thick, richly woven brocade fabric (厚板) used in kabuki costumes, particularly for male roles. Characterized by its bold patterns incorporating gold and silver thread, it typically features designs of dragons, tigers, and other powerful motifs appropriate for warrior and nobleman characters.
Ayahashi: A type of Noh mask portraying a beautiful young woman with a mysterious, ethereal quality. Used in plays featuring supernatural female characters or spirits.

B

Bugaku: Imperial court dance (舞楽) that originated in ancient China and Korea, performed in elaborate costumes to the accompaniment of gagaku court music. It is still performed at the Imperial Palace and major shrines.
Bunraku: A form of traditional Japanese puppet theater, founded in Osaka in the beginning of the 17th century. It is a highly refined art in which three-person teams manipulate large, sophisticated puppets to the accompaniment of narrative chanting and musical instruments.
Butai: The traditional Noh stage (舞台), characterized by its distinctive architectural features including a independent roof and four named pillars. The stage is designed to create complete openness between performers and audience.
Butoh: An avant-garde performance art that emerged in post-war Japan. Characterized by white-painted performers moving in a slow, controlled fashion, incorporating grotesque imagery and taboo themes. Developed by Tatsumi Hijikata and Kazuo Ohno in the late 1950s.

C

Chakkirako: A traditional dance from Miura, Kanagawa Prefecture, performed by young women at New Year celebrations. Features the use of wooden clappers (chakki) and celebrates the local fishing culture.
Chindon'ya: Street performers (チンドン屋, also known historically as tōzai'ya 東西屋 or hiromeya 広目屋) who combine music and elaborate costumes to advertise for businesses. Originating in 19th-century Osaka, these musical advertisers evolved from solo performers to small bands, reaching their peak popularity in post-war Japan before declining with the rise of modern advertising methods.
Chorei-beshimi: A category of Noh mask depicting powerful supernatural beings, characterized by its fierce expression with bared teeth and wrinkled brow.

D

Daikagura

A traditional Japanese performance art (太神楽/大神楽, "great divine music") that evolved from Shinto ritual origins. Originally featuring masked lion dancers with musical accompaniment who performed at shrine festivals to ward off evil spirits, it developed into a complex entertainment form incorporating juggling and acrobatic skills.
Traditional acts:

Shishi-mai (lion dance)
Hanakagomori (bottomless basket juggling)
Bangasa (parasol spinning)
Kagomari (ball, bucket and stick juggling)
Drumsticks juggling

Initially associated with Atsuta and Ise shrines, performers organized into professional groups (kumi) by the 18th century, later expanding their venues to include theaters and entertainment districts.^[1]^[2]

Daimokutate

A medieval Japanese performance art that combined recitation with mimetic movement. It served as a precursor to later theatrical forms and was often performed by shrine personnel.

Dengaku

An ancient form of Japanese rural theater and dance that originated from rice planting songs and ceremonies. It later developed into a more sophisticated theatrical form that influenced the development of Noh theater.

Dainichido Bugaku

A ritual dance tradition from Hachimantai, Iwate Prefecture, recognized as an Important Intangible Cultural Property. Combines Buddhist and folk elements in its ceremonies.

E

Eisa: A traditional Okinawan folk dance (エイサー) performed during the Bon festival. Features dynamic drumming, group choreography, and distinctive costumes.

F

Fuebashira: The "flute pillar" (笛柱) on the Noh stage, located at downstage left. Named for its proximity to where the flute player sits during performances.
Furyū Noh: A style of Noh performance (風流能) characterized by elaborate stage action, acrobatics, stage properties, and multiple characters, with less emphasis on plot development.

G

Gagaku: Traditional Japanese court music (雅楽, "elegant music") that has accompanied ceremonies and rituals since the 7th century. Features orchestral arrangements of wind and string instruments, plus drums, performed in highly structured compositions.
Geinyabanashi: Artful tales (芸屋噺) performed in yose theaters, characterized by their sophisticated narrative techniques and artistic presentation. These stories often featured themes of everyday life and human relationships.
Geki Noh: A style of Noh performance (劇能) that emphasizes dramatic plot development and narrative action, focusing on storytelling rather than spectacle.
Genzai Noh: A category of Noh plays (現在能, "present Noh") featuring human characters with events unfolding in a linear timeline, focusing on realistic situations and contemporary settings.
Geza: A small black room (下座, also called Kuromisu) on the left side of the stage with a slatted window, housing musicians who provide background music and sound effects. This "hidden orchestra" (Kagebayashi) includes shamisen, drums, bells, and flute players.
Gidayū: A style of musical narration (義太夫) created by Takemoto Gidayū in Osaka in 1684, used in puppet theater (ningyō jōruri) and kabuki's gidayū kyōgen.
Gigaku: An ancient form of masked dance-drama (伎楽) that arrived in Japan from Korea in 612 CE. Though primarily performed for Buddhist ceremonies, it significantly influenced later Japanese mask theater, particularly Noh. Its techniques for mask-making, including the use of carved wood and painted features, established foundations for Noh mask craftsmanship. The practice of using masks to represent specific character types became a fundamental element of Noh theater.
Gigaku masks: Large wooden masks (伎楽面) used in Gigaku performances, characterized by their exaggerated features and larger-than-life size. Their construction techniques, including the hollowing method (うつろ, utsuro) and facial proportion systems, influenced the later development of Noh masks. While Gigaku masks were larger and more exaggerated, their basic principles of character representation through fixed expressions carried into Noh mask design.
Gōshū ondo: A folk dance style from the Ōmi region (近江音頭), featuring characteristic rhythmic patterns and movements. Popular at summer festivals and gatherings.

H

Habutae: A silk or cotton skull cap (羽二重) worn by actors under their wigs, also referring to the silk fitted over a wig's metal foundation.
Hachinin-gei: A performance art (八人芸, "eight-person art") where a single performer rapidly changes costumes and personas to portray multiple characters in succession, traditionally eight different people.
Haimyō: Literary name (俳名) of kabuki actors, originally haiku pen-names. Though most popular during the Edo period when some actors were also renowned poets, some actors still use these literary names today.
Hakomawashi: Traveling puppeteers (箱廻し) who performed solo, handling puppets and providing narration themselves. They traditionally visited homes during New Year, performing at doorways to ward off evil and bring good fortune.
Hakushiki-jō: A type of Noh mask representing a mature male character of high status, characterized by its white coloring and serene expression.
Hana: A central aesthetic concept in Noh (花, "flower") explained by Zeami in his Kadensho. Represents two types of beauty: the temporary beauty of youth ("individual hana") and the enduring beauty of mature artistic mastery ("true hana"). As Zeami describes in the Kadensho, "after you master the secrets of all things and exhaust the possibilities of every device, the hana that never vanishes still remains." True hana is considered the ultimate goal of Noh performance, transcending technique to create perfect beauty that can be appreciated by any audience.
Hanamichi: A raised walkway (花道, "flower path") in Kabuki theater that extends from the back of the theater through the audience to the main stage. This extension of the stage serves multiple dramatic purposes: as an entrance and exit path for actors, a space for dramatic reveals and important scenes, and a way to bring the action closer to the audience. The hanamichi includes a special position called "shichisan" (七三, "seven-three"), located about 70% of the way from the stage, where actors often perform important speeches or poses.
Hannya: An iconic Noh mask depicting a jealous female demon, characterized by its horns, metallic eyes, and fearsome expression. Used in plays about transformed women.
Harukoma: A traditional Japanese dance (春駒, "spring horse") where performers use handheld horse-head props to depict playful horses or colts frolicking in springtime.
Hatsubutai: An actor's stage debut (初舞台), marking their first official performance appearance.
Hatsuharu Kyōgen: The first performance of the new year (初春狂言, "early spring play"), following the kaomise season. Traditionally features different play types in Edo (sogamono) and Kamigata (ni-no-kawari) regions. Also known as haru kyōgen, hatsu kyōgen, or hatsu shibai.
Hayachine kagura: A form of sacred dance from Iwate Prefecture, performed as offerings at shrines. Combines elements of both yamabushi kagura and satokagura traditions.
Hayashi: The instrumental ensemble (囃子) in Noh theater, consisting of four musicians playing the nōkan flute, ōtsuzumi and kotsuzumi drums, and taiko drum.
Hayashigata: A member of the hayashi.
Hengemono: A specialized performance style (変化物, "transformation piece") in kabuki where a single actor rapidly changes costumes and makeup to portray multiple characters in succession within the same dance piece.
Higashiyama: A cultural movement during the late Muromachi period that significantly influenced the development of Japanese arts, including Noh theater. Characterized by its emphasis on refined aesthetics and spiritual depth, it helped shape many of the philosophical principles that guide Noh performance.
Hikae Yagura: Substitute theaters (控櫓, "substitute drum tower") in Edo authorized to perform kabuki when licensed theaters faced financial difficulties. System established in 1734, with specific pairings between main theaters (hon yagura) and their substitutes.
Hikidōgu: Wheeled platforms (引道具) used in kabuki to move set pieces or actors across the stage.
Hikimaku: The kabuki stage curtain (引幕) pulled from right to left, featuring distinctive three-stripe patterns in colors specific to each theater. Also called jōshikimaku.
Hikinuki: A quick-change technique (引抜) where an outer costume is removed by pulling threads to reveal a different costume underneath, performed with the help of stage assistants.
Hon'anmono: Kabuki plays (翻案物) adapted from foreign works but reset with Japanese characters and settings.
Honbutai: The main performance area or "main stage" (本舞台) of the Noh theater, distinguished from the bridgeway and subsidiary spaces.
Honmizu: Real water effects (本水) used as spectacular stage techniques (keren) in kabuki performances.
Honmyō: An actor's real name (本名), as distinct from their stage name or other professional names.
Hyakunichi: A specific type of wig (百日, "hundred days") featuring long, unkempt black hair, used to portray characters who haven't cut their hair for extended periods, such as ill heroes or notorious thieves.
Hyōbanki: Critical evaluations and rankings of kabuki actors (評判記) published during the Edo period. These reviews served as both entertainment and guides for theatergoers, often featuring detailed analyses of actors' performances and their particular strengths.
Hyōshigi: Wooden clappers (拍子木) used to signal important moments in kabuki performances, originally developed for sutra recitation.
Hyōshigoto: Dances (拍子事) characterized by rhythmic foot-stamping to keep time.
Hyōshimai: An early form of kabuki dance (拍子舞) where performers simultaneously sing and dance.

I

Ichibanme: The first section (一番目) of a kabuki program, traditionally featuring historical plays (jidaimono). The term reflects the structured organization of kabuki programs that developed after the Genroku era.
Ichiza: A troupe (一座).
Iemoto: Literally a "family foundation" (家元), the current head of a school of Japanese traditional art.

J

Jidaimono: Historical plays (時代物) in kabuki theater, typically set in Japan's feudal past and featuring samurai, lords, and historical figures. These plays often focus on themes of loyalty, honor, and political intrigue.
Jiutai: The chorus (地謡) in Noh theater, typically consisting of six to eight singers who sit at the side of the stage and provide narrative and commentary.
Jo-ha-kyū: A concept of modulation and movement applied in various Japanese traditional arts. In theater, it refers to the tripartite structure of beginning (jo), break or development (ha), and rapid finish (kyū).
Jokyokumai: A variant of kusemai (女曲舞, "women's curved dance") in which female performers wear male clothing while performing the traditionally male kusemai dances. This form represents one of several gender-crossing performance traditions in Japanese theatrical history.
Jōruri: A form of traditional Japanese narrative music in which a tayū (太夫) sings to the accompaniment of a shamisen. Jōruri accompanies bunraku, traditional puppet theater.

K

Kabuki

A classical Japanese dance-drama known for its stylized performances, elaborate costumes, and distinctive stage makeup (kumadori). Originally developed in the early 17th century by Izumo no Okuni, it became an all-male theatrical form after women were banned from performing in 1629.

Kabuki brush

A specialized makeup brush used in kabuki theater for applying white foundation (oshiroi) and other cosmetics. The brush features a flat, wide head and is designed for smooth, even application of theatrical makeup.

Kabuki theater

Traditional Japanese theater buildings (歌舞伎座) with distinctive architectural and organizational features:
Stage elements:

Hanamichi (花道) - Raised passageway through the audience
Mawari-butai (回り舞台) - Revolving stage
Seri (迫り) - Trap doors and lifting mechanisms
Kuromisu (黒水) - Musicians' screen room
Suppon (スッポン) - Stage lift under the hanamichi

Theater organization:

Zamoto (座元) - Theater manager/owner
Tatekata (立方) - Acting section
Hayashikata (囃子方) - Music section
Geza (下座) - Orchestra space
Kurogo (黒衣) - Stage assistants

The building design incorporates both traditional elements and modern theatrical technology, while maintaining historical conventions of space usage and organizational hierarchy.

Kabu-isshin

A fundamental principle in Noh (歌舞一心, "song-dance-one heart") that emphasizes the complete unity of song, dance, and spiritual intention in performance. This concept requires performers to achieve perfect integration of all performance elements, treating song and dance as inseparable aspects of the same artistic expression.

Kachāshī

An energetic Okinawan folk dance (カチャーシー) performed at the end of festivals and celebrations. Characterized by its free-form, joyous movements.

Kagema

Male performers (陰間) who specialized in female roles in early kabuki, before the establishment of the onnagata tradition.

Kagura

Sacred Shinto dance (神楽) performed at shrines as offerings to the gods. Includes various regional styles and can be either ceremonial or theatrical in nature.

Kaidan

Ghost stories (怪談) performed as theatrical entertainment, often during summer months. These supernatural tales became a popular form of storytelling performance during the Edo period and continue to influence modern Japanese theater and cinema.

Kakegoe

Traditional shouts or calls (掛け声) used in Japanese theater, especially kabuki. These stylized vocalizations are made by experienced audience members (omuko-san) at specific moments to encourage actors and mark dramatic highlights. Common calls include "Yō!" for general encouragement and "Mattemashita!" ("We've been waiting!") when popular actors appear.

Kakubei-jishi [ja]

A children's lion dance (角兵衛獅子) from Echige (now Niigata) Prefecture, performed by youth wearing small lion masks with chicken feather manes and crimson silk neck guards. Alternatively called Echigo-jishi.

Kamigata

The style of kabuki (上方) developed in the Kyoto-Osaka region, characterized by more refined, realistic performances compared to the bombastic Edo style. Features subtle acting and elegant movement patterns.

Kami mono

A category of Noh plays (神物, "god plays") featuring deities as main characters, typically structured in two acts where the deity appears first in human form before revealing their true nature.

Kamishibai

A form of street theater storytelling (紙芝居, "paper play") where performers narrated stories using illustrated boards displayed in a miniature stage, popular in Japan from the 1930s until television's advent in the 1950s.

Kaomise

Annual "face-showing" ceremonies (顔見世) in kabuki theaters, traditionally held in the eleventh lunar month, where theaters present their company of actors for the upcoming season. These performances serve to introduce new actors and showcase the theater's artistic lineup.

Karaori

A fine silk brocade (唐織) used primarily for female roles in kabuki and noh theater, characterized by intricate weaving patterns incorporating metallic threads and delicate motifs of flowers, birds, and landscapes.

Katakiyaku

A villain role (敵役).

Kataru

The spoken dialogue portions of Noh plays, as distinct from the sung portions (utai).

Katsura mono

A category of Noh plays (鬘物, "wig plays") featuring female protagonists, known for their refined songs and graceful dance movements.

Katsureki

A style of kabuki plays (活歴, "living history") developed in the Meiji period that aimed for historical accuracy in depicting past events, in contrast to the more stylized traditional historical dramas. These plays emphasized realistic costumes, sets, and historical details rather than conventional theatrical presentations.

Kenshibu

Sword dances (剣舞) performed as part of martial arts demonstrations or religious ceremonies. Combines elements of combat techniques with artistic expression.

Keren

Stage tricks and special effects (外連) used in kabuki theater, including trap doors, quick changes, and other theatrical devices to create dramatic or supernatural effects.

Kiri Noh

The final plays (切り能) in a traditional Noh program, often featuring demons or supernatural beings and characterized by their dynamic movements and dramatic conclusions.

Kishōtenketsu

A four-part narrative structure (起承転結) common in Chinese, Korean, and Japanese storytelling, characterized by:

Ki (起) - Introduction of characters and setting
Shō (承) - Development of the narrative
Ten (転) - An unexpected twist or change in direction
Ketsu (結) - Conclusion that brings the elements together

Unlike Western narrative structures, kishōtenketsu often develops without relying on conflict as the primary driver. This structure appears in various forms, from traditional theater to modern manga.

Kizewamono

A genre of kabuki plays (生世話物, "raw domestic plays") developed by Tsuruya Namboku IV and refined by Kawatake Mokuami, featuring portrayals of society's outcasts: criminals, prostitutes, masterless samurai, and other marginalized figures.

Kōdan

Narrative stories (講談) focusing on historical events and military tales, performed in specialized storytelling theaters (yose). Distinguished from rakugo by its serious, historical content and use of a storytelling desk (kōza).

Kōjō

Formal stage announcements (口上) in kabuki theater, typically delivered before or after performances to mark special occasions, introduce new actors, or commemorate important events. These ceremonial speeches follow strict protocols and are often performed by senior actors.

Kōken

Stage attendants (後見) in Noh theater who assist performers with costume changes and props while remaining visible on stage.

Kumi Odori

A form of musical theater developed in the Ryukyu Kingdom (modern-day Okinawa) in the early 18th century. Combines elements of Noh, Kabuki, and local Ryukyuan performing arts, featuring distinctive music, dance, and costume styles.

Kokoro

A crucial concept in Noh (心, "heart/mind") that refers to the mental and spiritual state of the performer. Also read as shin, it represents the ideal state of consciousness necessary for achieving true artistic expression. To develop hana, the actor must enter a state of no-mind, or mushin.

Kōwakamai

A medieval narrative dance-drama (幸若舞) that influenced the development of Noh theater. Features dramatic recitation of historical tales accompanied by stylized movement.

Kumadori

The distinctive face makeup patterns (隈取) used in kabuki, featuring bold lines and colors that represent different character types. Red lines indicate passion and heroism, while blue represents evil or supernatural beings.

Kumadori styles

The principal patterns of kumadori (隈取) face makeup in kabuki include:

Ni-hon-Guma (ニ本隈, "two lines") - Two red lines extending into the hairline from eyebrows and eyeline, expressing quiet heroic strength.

Sugi-Guma (筋隈) - The iconic red-lined pattern worn by heroes like Kamakura Gongoro in Shibaraku, representing righteous anger and power.

Mukimi Kuma (むきみ隈) - Refined red patterns for young, handsome heroes, exemplified by Sukeroku's makeup in Sukeroku Yukari no Edo Zakura.

Zare-Guma (ざれ隈, "playful" kumadori) - Comic villain patterns using red lines to create animal-like appearances, indicating non-serious characters.

Kuge Kuma (公家隈) - Blue patterns for villainous court aristocrats, similar in design to sugi-guma but using blue to indicate malevolent intent.

Kuichaa

A traditional dance form from the Yaeyama Islands, characterized by its slow, graceful movements and accompanying songs.

Kumi Odori

A form of narrative dance-theater (組踊) developed in the Ryukyu Kingdom, combining elements of Noh, Kabuki, and local Okinawan performing arts.

Kuroko

Stage assistants (黒子) in Japanese theater who wear all-black clothing and hoods. By theatrical convention, they are considered invisible while they move props, assist with costumes, and manage stage effects. Most prominent in kabuki theater, where they work in full view of the audience while maintaining the theatrical illusion.

Kusemai

A dramatic dance-song tradition (曲舞) that emerged in the 14th century, characterized by its strong rhythmic patterns and narrative content. Kusemai significantly influenced the development of Noh theater, particularly its musical elements and dance sequences. The form features a distinctive curved or winding movement pattern that gave it its name.

Kyōgen

A form of traditional comic theater that developed as an intermission and comic relief between Noh plays. Features mime, slapstick, and dialogue in a relatively colloquial Japanese language.

Kyogen masks

Masks used in Kyogen theater (狂言面, kyogen-men), worn less frequently than in Noh. Primary types include:

Buaku (武悪) - A mask for mischievous servant characters with bulging eyes and wrinkled features
Usofuki (嘘吹き) - Used for supernatural characters, featuring puffed cheeks
Kitsune (狐) - Fox mask used for shape-shifting fox spirits
Saru (猿) - Monkey mask for various animal plays
Nushi (主) - Old man mask used for master characters

Unlike Noh masks, Kyogen masks are used primarily for non-human characters and comic roles, as most human characters perform unmasked to allow for more expressive facial reactions.

Kyōran mono

A subcategory of Noh plays (狂乱物, "madness plays") depicting characters experiencing mental anguish or psychological breakdown.

M

Ma: The concept of negative space or silence (間) in Noh music and performance, considered essential to the dramatic and musical structure.
Meriyasu: A type of music and dance style in kabuki (メリヤス), characterized by its light, rhythmic quality and often used in dance sequences.
Metsukebashira: The "gazing pillar" (見付柱) on the Noh stage, located at upstage left. Used by performers as a positioning marker.
Michiyuki: A poetic travel sequence (道行, "path going") found in multiple forms of Japanese theater, particularly Noh and Kabuki. In Noh, it refers to a journey scene where characters describe their travel through specific locations, often incorporating references to classical poetry and famous places (utamakura). In Kabuki, michiyuki evolved into a specialized type of love-suicide scene where doomed lovers undertake a final journey together. The michiyuki combines physical movement, poetic description, and musical accompaniment to create a heightened emotional atmosphere, often serving as a crucial dramatic turning point in the performance.
Mie: A dramatic pose (見得) struck by actors at moments of emotional intensity in kabuki plays. The actor freezes in a powerful, expressive position while the drum roll builds tension.
Mitate-e: A genre of ukiyo-e, that employs allusions and puns. Related to theater, it means depiction of real performers in roles they had not performed.
Mizugoromo: A three-quarter-length overgarment (水衣, "water garment") worn in Noh theater. Made from yore, a distressed plain-weave cloth with displaced wefts, creating a ragged appearance. Though used for various roles, it's particularly associated with suffering ghosts and destitute characters.
Mon: Family crests or emblems (紋) used on costumes and props in kabuki to identify characters' social status and family affiliations.
Monomane: The principle of artistic imitation in Noh (物真似), focusing on accurate representation of roles and actions. While sometimes contrasted with yūgen, it is considered part of a continuous spectrum of performance techniques rather than its opposite. Monomane emphasizes the intent to accurately depict the motions of a role, as opposed to purely aesthetic reasons for abstraction or embellishment.
Mugen Noh: A category of Noh plays (夢幻能, "supernatural Noh") featuring supernatural beings, ghosts, or spirits, characterized by non-linear time progression and multiple timeframes.
Mushin: A state of "no-mind" (無心) that Noh actors strive to achieve, where they transcend conscious thought to reach perfect performance. Essential for developing hana.
Myō: An aesthetic quality in Noh performance (妙, "charm") achieved when an actor transcends mere imitation to embody their role completely. Myō represents the state where an actor performs flawlessly and without any sense of imitation, effectively becoming the role they are portraying.

N

Nagauta: Long-form musical narrative (長唄, "long song") used in kabuki theater, performed with shamisen accompaniment. Features extended storytelling through song with complex musical arrangements.
Nembutsu [ja]: A traditional Buddhist performance art (念仏踊り, nembutsu odori) combining dance with chanted prayers. Exists in two main forms: one where dancers and chanters are separate, and dancing nembutsu (踊り念仏) where performers both dance and chant Buddhist invocations simultaneously.
Nihon-buyō: Traditional Japanese dance (日本舞踊) that forms an essential part of kabuki performance, combining elements from Noh, folk dance, and other movement traditions. Emphasizes grace, subtle movement, and the expression of poetic imagery through choreography.
Ninjō-banashi: Erotic stories (人情噺) performed in the yose theater tradition, focusing on human emotions, relationships, and love affairs. These narratives often explored the conflict between social obligations (giri) and human feelings (ninjō).
Ningyōburi: Ningyōburi (人形振り) is a style of kabuki acting where the actor imitates the exaggerated motions of a puppet. Often, one or two actors as puppeteers appear behind the main actor and mime controlling that actor's movements. These puppeteers often dress in black. This technique is mostly used in kabuki plays derived from puppet theater plays.
Nōgaku: The general term for Noh and Kyōgen theater together, recognized by UNESCO as an Intangible Cultural Heritage. Encompasses both the serious, symbolic Noh drama and the comic Kyōgen interludes.
Noh: The oldest surviving form of Japanese theater, originating in the 14th century. Characterized by masked performers, slow and stylized movement, poetic text, and accompaniment by a chorus and instrumental ensemble.
Noh-bayashi: The traditional musical ensemble of Noh theater (能囃子), consisting of three drummers and a flutist who provide accompaniment throughout the performance.
Noh masks: Carved wooden masks (能面, nōmen) essential to Noh theater, with approximately 450 different types divided into major categories based on age, gender, and social status. The main shite (protagonist) typically wears a mask, while the waki (supporting actor) performs unmasked. These masks are considered sacred objects and are handled with reverence, with specific rituals for their donning and use. The subtle changes in a mask's expression are achieved through the actor's movements and shifts in angle relative to lighting, a technique called "tilting the mask" (曲見, kurume). Despite their fixed features, master actors can make masks appear to express varying emotions through subtle head movements and control of lighting angles.
Nōkan: The specific type of transverse flute (能管) used in Noh theater, distinguished by its unique construction and tone quality.

O

Okayama: A traditional dance style from Okayama Prefecture, featuring distinctive local characteristics and often performed at regional festivals.
Okina: A special ritual performance (翁) combining dance with Shinto ceremonies, considered the oldest type of Noh play and typically performed at the beginning of special programs.
Onikenbai: A "devil's sword dance" (鬼剣舞), A ritual dance featuring performers in demon masks wielding swords, often performed at temples and shrines to ward off evil spirits (oni). The dance was popular in northeastern Japan, and usually employed eight dancers.
Onna no kusemai: Another name for women's kusemai performances (女曲舞, literally "woman's curved dance"), identical to jokyokumai. These performances featured women adopting male dress and performing pieces from the kusemai repertoire, similar to how shirabyōshi performers would cross-dress in their performances.
Onnagata: Male actors who specialize in playing female roles in Kabuki theater. They employ sophisticated techniques to create the appearance and mannerisms of female characters.
Onryō mono: A subcategory of Noh plays (怨霊物, "vengeful ghost plays") featuring the spirits of those who died with strong resentments or unresolved emotions.
Oshiguma: A face print (押隈) made by pressing rice paper against an actor's face after a performance to record their kumadori makeup pattern. These prints became collectible items for fans.
Oshiroi: The white foundation makeup (白粉) used in kabuki theater, applied as a base layer before other makeup elements. This distinctive white makeup symbolizes the theatrical nature of kabuki and creates a blank canvas for additional character makeup.
Ōtsuzumi: Also known as ōkawa (大皮), a hip drum used in Noh theater's hayashi ensemble, characterized by its deeper tone and played while placed on the performer's hip.

R

Rakugo: A form of verbal entertainment where a lone storyteller (rakugoka) sits on stage and tells a comic monologue using only a fan and a hand towel as props.
Rōjaku: The highest stage of Noh performance development (老弱, "old and tranquil"), characterized by the elimination of all unnecessary elements. In this stage, the performer eliminates all unnecessary action or sound, leaving only the true essence of the scene or action being imitated.
Rōkyoku: A form of traditional Japanese narrative singing (浪曲, also known as naniwa-bushi 浪花節) performed with shamisen accompaniment. The genre gained significant popularity in the early 20th century, featuring dramatic storytelling that often focused on historical tales and moral stories.
Ryōkake Noh: A hybrid category of Noh plays (両掛能) combining elements of both Genzai and Mugen Noh, with the first act set in the present and the second in the supernatural realm.

S

Samisen

A three-stringed plucked instrument (三味線, also spelled shamisen) central to kabuki, bunraku, and other theatrical forms. Different styles and techniques are used depending on the genre and dramatic context.

Sangaku [ja]

An early form of Japanese entertainment (散楽) that arrived from China during the Nara period. Similar to circus performances, it featured acrobatics, juggling, magic tricks, and other spectacle-based performances. These continental entertainments were performed at the imperial court and gradually evolved as they mixed with local traditions.

Sarugaku

A form of theater (猿楽, "monkey music") that flourished in Japan during the 11th to 14th centuries. Developing from sangaku, it combined comic skits, acrobatics, and dance with musical accompaniment. Sarugaku eventually split into two major branches: one became the serious, dramatic Noh theater, while the other developed into the comic Kyōgen tradition. The term "monkey music" may refer to the playful, entertaining nature of early performances.

Sewamono

Domestic plays (世話物) in kabuki dealing with contemporary life and relationships during the Edo period, often featuring merchants and townspeople rather than historical figures.

Shikami

A type of Noh mask depicting a furious demon or angry spirit, characterized by its intensely wrinkled features and aggressive expression.

Shiki-sanban [ja]

Three traditional pieces performed at the beginning of a Noh program for ritual purification, consisting of Okina, Senzai, and Sambabō.

Shime-daiko

One of the three drums used in Noh theater, characterized by its small size and high, sharp tone.

Shin

Alternative reading of kokoro (心), referring to both "heart" and "mind" in Noh performance theory. Central to Zeami's teachings about performance and artistic development.

Shingeki

Modern theater movement that emerged in Japan in the early 20th century, focusing on realistic acting and contemporary themes, often adapting Western plays. Literally means "new theater."

Shinpa

A theatrical form that emerged in the Meiji period as a bridge between traditional Kabuki and modern Shingeki. Known for melodramatic adaptations of contemporary novels and social themes.

Shinjū Shamisen

A form of musical theater performance featuring tragic love stories, accompanied by shamisen music. Often depicts double suicide stories that were popular during the Edo period.

Shirabyōshi

Female dancers (白拍子) of the late Heian and early Kamakura periods who performed in male dress. Their art combined dance, song, and poetry recitation. It influenced the later development of Noh theater.

Left: shite of the play Mochizuki, playing Ozawa-no-Tomofusa.
Right: shite playing the character of Inari in the play Kokaji.
Photos by Stephane Passet for the Archives of the Planet, Kyoto, 1912.

Shite

The main protagonist or leading role (仕手) in Noh plays. May appear in different forms as mae-shite (first form) and nochi-shite (later form) in supernatural plays.

Shitebashira

The "main actor's pillar" (仕手柱) on the Noh stage, located at upstage right. Serves as a primary reference point for the shite's movements.

Shitetsure

The companion (仕手連れ) to the main character (shite) in Noh plays. Sometimes abbreviated as tsure when referring to both shitetsure and wakitsure.

Shishi-odori [ja]

A traditional folk dance (鹿踊り, "deer dance") from northern Japan, primarily preserved in Iwate, Miyagi, and Uwajima regions. Performers wear deer-head masks (shishi-gashira) with hanging cloth covering their upper bodies, and perform vigorous jumping movements imitating deer. Two main styles exist:

Maku-odori: Dancers hold cloth curtains while separate musicians provide accompaniment, common in northern Iwate
Taiko-odori: Dancers play waist-drums while performing, prevalent in southern Iwate, Miyagi, and Uwajima

Shōjō

A type of Noh mask depicting a mythical sake-loving water spirit, characterized by its red coloring and generous expression.

Shosagoto

Dance pieces (所作事) in kabuki that emphasize movement and music over plot, showcasing the performers' grace and technical skill.

Shozoku

The traditional costume robes (装束) worn in Noh theater, made of richly embroidered silk with different levels of elaborateness depending on the character's importance.

Shūmei

The ceremonial taking of a new stage name (襲名) by a kabuki actor, usually inheriting the name of a respected predecessor. This practice helps maintain artistic lineages and traditions.

Shura mono

A category of Noh plays (修羅物, "warrior plays") featuring the ghosts of fallen warriors who recount their death in battle and seek spiritual salvation.

Sōran Bushi

A traditional fishermen's folk song and dance (ソーラン節) from Hokkaido. The movements imitate the work of hauling fishing nets and processing fish.

T

Tachiyaku: Male role specialists (立役) in kabuki who perform masculine characters, as distinct from onnagata who specialize in female roles.
Taishū engeki: Popular theater that emerged in the early 20th century, combining elements of Kabuki with modern drama. Often performed in small theaters and characterized by melodramatic stories and spectacular stage effects.
Takarazuka Revue: An all-female musical theater troupe founded in 1913. Known for its lavish productions combining Western-style musicals with Japanese elements, featuring actresses playing both male (otokoyaku) and female (musumeyaku) roles.
Takemoto: The narrative chanting style (竹本) used in bunraku puppet theater, performed by a tayu (chanter) with shamisen accompaniment. Characterized by its dramatic vocal delivery and emotional expression.
Takigi Noh [ja]: Outdoor Noh performances (薪能, takigi nō) performed at night by bonfire light. Originally developed from Takigi Sarugaku (薪猿楽) ceremonies at Kōfukuji Temple's Saikondō in Nara, dating back to the Kamakura period. Initially a ritual for exorcising demons, it evolved into ceremonial performances by the four Yamato Sarugaku schools. While the original Kōfukuji performances were religious ceremonies offering firewood to deities, the term now generally refers to outdoor Noh performances illuminated by bonfires, commonly held at shrines, temple grounds, and historic sites during summer evenings.
Tejina: Traditional Japanese magic arts (手品) performed in theaters and festivals. While sharing some elements with Western magic, tejina incorporates distinctly Japanese elements and artistic presentation styles.
Tsuzumi: Hour-glass shaped hand drums (鼓) used in noh and kabuki music. Include the larger ōtsuzumi (大鼓) played at the hip and smaller kotsuzumi (小鼓) played at the shoulder.

U

Uba: A type of Noh mask representing an elderly woman, characterized by its deeply wrinkled features and gentle expression.
Utai: The sung portions of Noh plays, characterized by their limited tonal range and poetic text structure based on traditional Japanese seven-five rhythm. Performed by both the main actors and the chorus.
Utsushi-e: A form of shadow theater (写し絵) that emerged in the Edo period, using magic lanterns to project images onto screens. It was an early form of moving picture entertainment in Japan that combined storytelling with visual effects.^[4]^[5]^[6]

W

Wakaotoko: A type of Noh mask depicting a young man, characterized by its smooth features and refined expression.
Waki: The secondary character (脇) in Noh plays who serves as a counterpart to the shite, often playing the role of a traveling priest or other witness to supernatural events.
Wakibashira: The "secondary actor's pillar" (脇柱) on the Noh stage, located at downstage right. Associated with the waki's position and movements.
Wakitsure: The companion (脇連れ) to the secondary character (waki) in Noh plays.
Wagoto: A gentle, romantic style of acting (和事) developed in Kamigata kabuki, featuring refined movements and emotional subtlety. Often used for romantic lead roles and sophisticated urban characters.

Y

Yagō

Professional or house names (屋号) used in Japanese traditional arts, particularly in kabuki. Often ending in "-ya" (〜屋), these names identify acting families, artistic lineages, and professional identities. They may reference a founder's birthplace or artistic specialty and are often associated with specific family crests (mon).

Yakkofuri [ja]

A traditional performing art (奴振り, also called yakkoburi) depicting the stylized movements of samurai attendants (yakko) carrying ceremonial items such as boxes, umbrellas, and spears. Originally performed during feudal lord processions, it influenced kabuki dance and festival traditions, with about 300 variations still performed throughout Japan (except Okinawa).

Yakusha-e

Woodblock prints (役者絵) depicting kabuki actors, often showing them in famous roles or scenes. These prints served as both advertising and collectible artwork.

Yōkyoku

The libretti or texts of Noh plays (謡曲), characterized by their highly poetic language, sophisticated literary allusions, and careful integration with music and movement. These texts combine prose, poetry, and chant sections structured according to aesthetic principles like jo-ha-kyū.

Yosakoi

A modern festival dance style (よさこい) that originated in Kōchi Prefecture, combining traditional Japanese dance movements with contemporary music and choreography.

Yose

A type of traditional Japanese variety theater (寄席) that emerged during the Edo period as a venue for popular entertainment. These theaters typically feature multiple performers presenting different styles of oral storytelling and entertainment throughout the day. Unlike formal theaters, yose traditionally had audience members seated on tatami mats, creating an intimate atmosphere.

Yose performance styles

The major performance arts featured in yose theaters include:

Rakugo (落語) - Comic storytelling performed by a single narrator (rakugoka) who remains seated on stage, using only a fan and hand towel as props.

Kōdan (講談) - Historical narrative storytelling performed from behind a desk (kōza), often featuring military tales and historical events.

Ninjō-banashi (人情噺) - Sentimental stories focusing on human relationships and emotional conflicts, especially the tension between duty (giri) and personal feelings (ninjō).

Kanzen-banashi (勧善噺) - Moral stories intended to promote virtuous behavior.

Mandan (漫談) - Comic monologues similar to modern stand-up comedy.

Daidō-gei (大道芸) - Traditional street performances and variety acts, including:
- Kamikiri (紙切り) - Paper cutting art
- Harikiri (張り切り) - String figure performance
- Tezuma (手妻) - Magic tricks
- Kyokugei (曲芸) - Acrobatics and juggling

Zatsugei (雑芸) - Miscellaneous entertainment acts such as:
- Iromono (色物) - Novelty acts
" Naniwabushi (浪花節) - Dramatic narrative singing
- Kouta (小唄) - Short songs
- Hauta (端唄) - Brief popular songs

Geinyabanashi (芸屋噺) - Artistic tales focusing on the entertainment world and life in the pleasure quarters.

Yose organization

Traditional yose programs are organized into specific time slots:

Hiru-yose (昼寄席) - Afternoon program
Yû-yose (夕寄席) - Evening program
Shin-yose (真寄席) - Main program
Asa-yose (朝寄席) - Morning program

Each program typically features multiple performers and styles, arranged to provide variety and maintain audience interest throughout the performance.

Yūgen

A fundamental aesthetic principle in Noh (幽玄, "profound sublimity") representing subtle, hidden beauty that suggests rather than states. Originally used in waka poetry to mean elegance or grace representing perfect beauty, in Noh it refers specifically to the representation of transcendental beauty, including the emotional depth found in sadness and loss. Yūgen is invisible beauty that is felt rather than seen in a work of art.

Z

Zagashira: A head of a theater.
Zangirimono: A genre of Meiji-era kabuki plays (散切り物, "cropped-hair plays") developed by playwright Kawatake Mokuami and actor Onoe Kikugorō V. These plays featured contemporary characters with Western-style short haircuts rather than traditional samurai topknots, depicting modern office workers and government officials in contemporary settings as part of kabuki's modernization efforts.^[7]
Zamoto: A theater manager or producer (座元) in kabuki, responsible for both artistic and business aspects of production.

0-9

2.5D musical: A contemporary form of musical theater that adapts manga, anime, and video games into stage performances. Combines traditional theatrical elements with modern multimedia effects to recreate the two-dimensional source material in a live setting.

References

^ Cain, David (February 13, 2021). "A Video Survey of Edo Daikagura (Traditional Japanese Juggling) · IJA".
^ "Daikagura 太神楽 Holy dancing". Ninjin. June 18, 2022.
^ ""Ki-sho-Ten-ketsu" is "KA-ME-HA-ME-HAA!" 4 part construction practicals - Japanese Manga 101". Youtube: SMAC! - THE SILENT MANGA AUDITION® COMMUNITY!. 24 June 2016. Retrieved 31 August 2023.
^ "写し絵風呂". ToMuCo - Tokyo Museum Collection. Retrieved 26 December 2024.
^ "Utsushi-e" (PDF). Japanese Information and Culture Center. Retrieved 26 December 2024.
^ "結城座". youkiza.jp. Retrieved 26 December 2024.
^ "Zangirimono [Cropped-hair Plays] - Routledge Encyclopedia of Modernism". {{cite web}}: line feed character in |title= at position 33 (help)

[1] Cain, David (February 13, 2021). "A Video Survey of Edo Daikagura (Traditional Japanese Juggling) · IJA".

[2] "Daikagura 太神楽 Holy dancing". Ninjin. June 18, 2022.

[smac-3] ""Ki-sho-Ten-ketsu" is "KA-ME-HA-ME-HAA!" 4 part construction practicals - Japanese Manga 101". Youtube: SMAC! - THE SILENT MANGA AUDITION® COMMUNITY!. 24 June 2016. Retrieved 31 August 2023.

[4] "写し絵風呂". ToMuCo - Tokyo Museum Collection. Retrieved 26 December 2024.

[5] "Utsushi-e" (PDF). Japanese Information and Culture Center. Retrieved 26 December 2024.

[6] "結城座". youkiza.jp. Retrieved 26 December 2024.

[7] "Zangirimono [Cropped-hair Plays] - Routledge Encyclopedia of Modernism". {{cite web}}: line feed character in |title= at position 33 (help)

[1]

[2]

[3]

[4]

[5]

[6]

[7]