Nō theatre is a Japanese performance art that traditionally originated in 1375, when Kiyotsugu Kan’ami, an actor in a sarugaku troupe, performed a Nō performance for the shōgun Ashikaga Yoshimitsu at the Imagumano temple in Kyoto. The roots of Nō, therefore, can be traced back to sarugaku, i.e. rituals and dances that were performed at places of worship by companies of performers.
The poetics of Nō theatre according to Zeami
In the 14th century, succeeding his father Kan’ami, Motokiyo Zeami gave shape and structure to Nō theatre through his treatises. His theoretical works, such as the Fūshi Kaden and the Kakyo, contain valuable teachings on various aspects of Nō theatre, including gestures, voice, acting, costume and set design. Zeami developed concepts such as the yūgen (deep, hidden, unfathomable), which refers to a mysterious and profound beauty of performance, and the poetics of the flower.
Zeami emphasised the importance of actors’ disciplined training, deep understanding of texts and ability to convey emotions in a subtle and evocative way. Zeami’s legacy is still alive today, with Nō continuing to be performed and studied as a valuable and refined art form, thanks in part to his seminal contributions.
The flower (hana), through its precarious charm, provokes the spectator’s emotion during a Nō theatre performance. Each flower blooms and witnesses its beauty in the world for a few days, following the seasons. Despite its fleetingness and precariousness, season after season, the flower returns similar and different to itself but, for this very reason, always capable of arousing interest and fascination in our eyes.
The wonder of the flower is preserved, for Zeami, in its ability to always be unusual, new and enchanting: “For the ten thousand trees and the thousand grasses, although the colours of the flowers are all different, the principle that makes humans find interest in them is always the flower”.
The way of the flower is also fundamental in butō dance and, in particular, was very dear to Kazuo Ohno.
The Golden Age of Nō from the Muromachi era to the present day
Between the 14th and 16th centuries, the Muromachi period saw the growth of Nō theatre in terms of popularity and artistic development. The shogun government actively supported and promoted Nō, leading to the construction of specialised theatres, such as the Kanze Kaikan in Kyoto. Masks, elaborate costumes and stylised dances became distinctive elements of Japanese theatre. Nō also became an integral part of religious ceremonies and rituals, emphasising its connection to spirituality and tradition. Solemn performances took place outdoors, throughout the day, accompanying the changing light in the sky, until evening.
During the Edo period, Nō theatre was joined by more popular forms of entertainment such as Kabuki theatre. However, the 19th century saw a revival of Nō thanks to the efforts of reformers such as Umewaka Manzaburō. This period saw a return to the traditional approach of Nō and a renewed interest in its spiritual roots.
Today, Nō Theatre is considered a cultural and artistic treasure in Japan, with Nō masters teaching the tradition to new generations of performers. The repertoire includes a wide range of dramas, each with its own story and meaning. Nō has been declared an Intangible Cultural Heritage of Humanity by UNESCO, underlining its global importance.
Masks in Nō theatre: living expressions
Japanese theatre is also famous for its extraordinary Nō masks, which, precisely sculpted and steeped in symbolism, play a crucial role in conveying the emotions, characters and themes of the plays.
Known as Nō-men in Japanese, the masks date back to the 14th century. Initially rudimentary, as time went by, sculpture and decoration techniques became increasingly sophisticated, leading to the creation of extraordinary works of art that appear to be living.
The art of Nō mask sculpture
The sculpting of Nō masks is a highly specialised art requiring skill and mastery. Master craftsmen are called Nō-men-shi. Their task is to create expressions that convey subtle but powerful emotions. The masks represent men, women, ghosts, deities, demons and each expression is carefully calibrated to fit the character represented.
Each mask in Nō Theatre is imbued with symbolism.
Craftsmen incorporate subtle details to communicate moods, personalities and stories. For example, the direction of the eyes, the curvature of the lips and even the colour shade of the mask can convey crucial information about the character. Minimalism is a hallmark of artists who try to capture the essence of the character with just a few strokes.
I was lucky enough to meet a Nō mask master in Kyoto, Udaka Keiko, who made the Masukami mask I wear during my Ianvs performance. Watch the video of her interview.
The history of the four main families of Japanese theatre
Four theatre families are particularly significant for the history and development of Nō theatre in Japan. These are the Kanze, Hosho, Kita and Kongō families.
The foundation of the Kanze school is attributed to Kiyotsugu Kan’ami and his son Motokiyo Zeami, key figures in the development and dissemination of Nō. The Kanze school is one of the most influential in Nō culture and the family has maintained its legacy through the generations.
The Hosho family is associated with traditional Japanese theatre called Kyogen, a form of comedy that is often performed alongside Nō. Founded by Hosho Kuroemon, they are dedicated to a form of theatre that offers a light comic contrast to the more serious nature of Nō.
The Kita family is associated with Kabuki theatre, a popular Japanese theatre form known for its stage elaborations, flashy make-up and emphatic acting. Founded in the 17th century by Ichikawa Danjuro I, the Kita family has spanned many generations of actors, each leaving a unique mark on the history of Kabuki.
The Kongō family is linked to the traditional Japanese Bunraku or puppet theatre. Founded in the 17th century by Bunrakuken Uemura, the Kongō family contributed to the development and popularity of this unique art form.
