Noh is a highly refined Japanese theater form combining drama, dance, music, and poetry. In the latter half of the fourteenth century, the actor and playwright Kanze Kan'ami Kiyotsugu (1333–1384) and his son, Kanze Zeami Motokiyo...

Utai (also called yokyoku) is the vocal music of the Japanese classical theater form called Noh. It is monophonic music influenced by Buddhist chant, especially of the shomyo tradition of the Tendai and Shingon esoteric sects that came to Japan from...

Lit. Performance. The Nō plays of Japan date from seventh century. Many have a Bst. theme. The action and manner of dancing and of speech became highly stylized, and today the art is a cult of the few learned enough to understand the symbolic...

Noh (能, Nō?), or Nōgaku (能楽, Nōgaku?) is a major form of classic Japanese musical drama that has been performed since the 14th century. Together with the closely-related kyogen farce, it evolved from various popular, folk and aristocratic art...

Murray Edmond, Noh Business (Berkeley: Atelos, 2005) This charming little book sets a personal tone, as is appropriate as it charts a personal journey. Half scholarly review and half travelogue, Noh Business reflects New Zealand poet Murray Edmond's personal encounter with Japanese Noh....

Noh Sang-Kyoon SEOUL GALLERY SIMON Noh Sang-Kyoon has had but one modus operandi for more than a decade: He glues rows and rows of sequins all over canvases and found objects, giving every item a signature glistening finish. You may have...

What's a name worth? To find out, Cisco Systems Inc. and Apple Inc. may spend millions of dollars in a high-stakes legal battle _ and the winner could walk away with the rights to the coveted name "iPhone."In a lawsuit filed Wednesday, Cisco asked a...

What's a name worth?To find out, Cisco Systems Inc. and Apple Inc. may spend millions of dollars in a high-stakes legal battle _ and the winner could walk away with the rights to the coveted name "iPhone."In a lawsuit filed Wednesday, Cisco asked a judge...

In the following essay, Goff examines the role of spectators in Noh drama, tracing the contributions of early Noh audiences (from the late fourteenth century to the sixteenth century) to the dramatic repertoire, discussing the development of the Noh stage, and exploring the relationship between actors and the audience. Ideographic characters in the following essay have been silently removed.

In the following essay, Sekine describes the five categories of Noh plays defined in the Edo period (1600-1867), comparing them to the classifications used by Zeami.

In the following essay, Ishii discusses the development of Noh over 600 years, discussing its origins, use of mirror imagery, stagecraft, portrayal of characters, use of masks, and recurrent theme of madness.