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53-790: Ikuta may refer to; Ikuta Shrine , Japanese shrine Ikuta Station , Japanese railroad station Ikuta Atsumori , Japanese noh play People [ edit ] Chōkō Ikuta ( 生田 長江 , 1882-1936) , translator, literary critic Erina Ikuta ( 生田 衣梨奈 , born 1997) , Japanese idol singer ( Morning Musume ) Erika Ikuta ( 生田 絵梨花 , born 1997) , Japanese actress and former idol singer ( Nogizaka46 ) Masaharu Ikuta ( 生田 正治 , born 1935) , Japanese businessman Sandra Segal Ikuta , American federal judge Toma Ikuta ( 生田 斗真 , born 1984) , Japanese actor Yasuhiro Ikuta ( 生田 康宏 , born 1979) , Japanese alpine skier Lilas Ikuta ( 幾田 りら , born 2000) , Japanese singer ( Yoasobi ) Topics referred to by

106-468: A nohkan flutist. The chant is not always performed "in character"; that is, sometimes the actor will speak lines or describe events from the perspective of another character or even a disinterested narrator. Far from breaking the rhythm of the performance, this is actually in keeping with the otherworldly feel of many Noh plays, especially in those characterized as mugen . Of the roughly 2000 plays created for Noh that are known today, about 240 make up

159-583: A chorus and a hayashi ensemble ( Noh-bayashi 能囃子). Noh is a chanted drama, and a few commentators have dubbed it "Japanese opera ". However, the singing in Noh involves a limited tonal range, with lengthy, repetitive passages in a narrow dynamic range. Texts are poetic, relying heavily on the Japanese seven-five rhythm common to nearly all forms of Japanese poetry , with an economy of expression, and an abundance of allusion. The singing parts of Noh are called " Utai " and

212-450: A combination of hakama and a waist-coat with exaggerated shoulders. Finally, the stage attendants are garbed in virtually unadorned black garments, much in the same way as stagehands in contemporary Western theatre. The use of props in Noh is minimalistic and stylized. The most commonly used prop in Noh is the fan , as it is carried by all performers regardless of role. Chorus singers and musicians may carry their fan in hand when entering

265-493: A dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent specific roles such as ghosts, women, deities, and demons. Having a strong emphasis on tradition rather than innovation, Noh is highly codified and regulated by the iemoto system. Although the terms Noh and nōgaku are sometimes used interchangeably, nōgaku encompasses both Noh and kyōgen . Traditionally,

318-399: A full nōgaku program included several Noh plays with comedic kyōgen plays in between; an abbreviated program of two Noh plays with one kyōgen piece has become common today. The kanji for Noh ( 能 ) means "skill", "craft", or "talent", particularly in the field of performing arts in this context. The word Noh may be used alone or with gaku ( 楽 ; entertainment, music) to form

371-563: A hidden treasure by the oldest school, the Konparu. According to the current head of the Konparu school, the mask was carved by the legendary regent Prince Shōtoku (572–622) over a thousand years ago. While the historical accuracy of the legend of Prince Shōtoku's mask may be contested, the legend itself is ancient as it is first recorded in Zeami's Style and the Flower written in the 14th century. Some of

424-503: A similar role to stage crew in contemporary theatre. Like their Western counterparts, stage attendants for Noh traditionally dress in black, but unlike in Western theatre they may appear on stage during a scene, or may remain on stage during an entire performance, in both cases in plain view of the audience. The all-black costume of kuroko implies they are not part of the action on stage and are effectively invisible. Set pieces in Noh such as

477-592: Is jo , the second, third, and fourth plays are ha , and the fifth play is kyū . In fact, the five categories discussed below were created so that the program would represent jo-ha-kyū when one play from each category is selected and performed in order. Each play can be broken into three parts, the introduction, the development, and the conclusion. A play starts out in a slow tempo at jo , gets slightly faster at ha , then culminates in kyū . There are four major categories of Noh performers: shite , waki , kyōgen , and hayashi . A typical Noh play always involves

530-419: Is associated with the performers and their actions. The stage is made entirely of unfinished hinoki , Japanese cypress, with almost no decorative elements. The poet and novelist Tōson Shimazaki writes that "on the stage of the Noh theatre there are no sets that change with each piece. Neither is there a curtain. There is only a simple panel ( kagami-ita ) with a painting of a green pine tree. This creates

583-438: Is considered to be the oldest tradition of Noh, was founded by Hata no Kawakatsu in the 6th century. However, the founder of the Konparu school, which is widely accepted among historians, was Bishaō Gon no Kami (Komparu Gonnokami) during Nanboku-chō period in the 14th century. According to the genealogical chart of the Konparu school, Bishaō Gon no Kami is a descendant after 53 generations of Hata no Kawakatsu. The Konparu school

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636-458: Is different from Wikidata All article disambiguation pages All disambiguation pages Ikuta Shrine It was founded by Empress Jingu when she returned from the Three Han (三韓, Korea) campaign. She was nearly shipwrecked but managed to survive thanks to praying to Watatsumi , and she made the shrine to honor him. Ikasuri Shrine and Watatsumi Shrine were both also made at

689-454: Is performed in between Noh plays in the same space. Compared to Noh, " kyōgen relies less on the use of masks and is derived from the humorous plays of the sangaku , as reflected in its comic dialogue." During the Edo period , the guild system gradually tightened, which largely excluded women from Noh, except for some women (such as courtesans ) performing songs in marginal situations. Later, in

742-401: Is to stylize and codify the facial expressions through the use of the mask and to stimulate the imagination of the audience. By using masks, actors are able to convey emotions in a more controlled manner through movements and body language. Some masks utilize lighting effect to convey different emotions through slight tilting of the head. Facing slightly upward, or "brightening" the mask, will let

795-436: The shōgun , the feudal lords ( daimyōs ), as well as wealthy and sophisticated commoners. While kabuki and joruri popular to the middle class focused on new and experimental entertainment, Noh strived to preserve its established high standards and historic authenticity and remained mostly unchanged throughout the era. To capture the essence of performances given by great masters, every detail in movements and positions

848-541: The Genpei War , are performed near the Ikuta Shrine on a regular basis. They are performed every year at Ikuta's Autumn Festival ( 秋祭り , Akimatsuri ) . This article about a Japanese religious building or structure is a stub . You can help Misplaced Pages by expanding it . This article relating to Shinto is a stub . You can help Misplaced Pages by expanding it . Noh Noh ( 能 , Nō , derived from

901-530: The Genpei War , parts of the Battle of Ichi-no-Tani took place in and around this shrine, and are commemorated by markers in the Ikuta forest behind the shrine. The shrine's land was much larger back then, before the city of Kobe was built around it. Thus, the precise locations of skirmishes or events can no longer be commemorated on shrine land. Today, two Noh plays, Ebira and Ikuta Atsumori , which retell aspects of

954-515: The Meiji era also significantly broadened Noh's reach by catering to the general public, performing at theatres in major cities such as Tokyo and Osaka . In 1957 the Japanese Government designated nōgaku as an Important Intangible Cultural Property , which affords a degree of legal protection to the tradition as well as its most accomplished practitioners. The National Noh Theatre founded by

1007-537: The Meiji era , Noh performers taught wealthy people and nobles, and this led to more opportunities for female performers because women insisted on female teachers. In the early 1900s, after women were allowed to join Tokyo Music School , the rules forbidding women from joining various schools and associations in Noh were relaxed. In 1948, the first women joined the Nohgaku Performers' Association. In 2004,

1060-475: The Sino-Japanese word for "skill" or "talent") is a major form of classical Japanese dance- drama that has been performed since the 14th century. It is the oldest major theater art that is still regularly performed today. Noh is often based on tales from traditional literature featuring a supernatural being transformed into a human hero who narrates the story. Noh integrates masks, costumes and various props in

1113-486: The masks of the Konparu school belong to the Tokyo National Museum , and are exhibited there frequently. The traditional Noh stage ( butai ) has complete openness that provides a shared experience between the performers and the audience throughout the performance. Without any proscenium or curtains to obstruct the view, the audience sees each actor even during the moments before they enter (and after they exit)

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1166-419: The shite in particular are extravagant, shimmering silk brocades, but are progressively less sumptuous for the tsure, the wakizure, and the aikyōgen . For centuries, in accordance with the vision of Zeami, Noh costumes emulated the clothing that the characters would genuinely wear, such as the formal robes for a courtier and the street clothing for a peasant or commoner. But in the late sixteenth century,

1219-480: The 17-year-old Ashikaga Yoshimitsu , Zeami was a child actor in his play, around age 12. Yoshimitsu fell in love with Zeami and his position of favor at court caused Noh to be performed frequently for Yoshimitsu thereafter. Konparu Zenchiku , who was the great-grandson of Bishaō Gon no Kami, the founder of the Konparu school, and the husband of Zeami's daughter, incorporated elements of waka (poetry) into Zeami's Noh and further developed it. By this period, among

1272-520: The Imperial Court in the 12th century), gagaku (music and dance performed in the Imperial Court beginning in the 7th century), and kagura (ancient Shinto dances in folk tales) evolved into Noh and kyōgen . Studies on the genealogy of the Noh actors in 14th century indicate they were members of families specializing in the performing arts. According to legend, the Konparu School, which

1325-418: The basic rhythms within each Noh performance. Jo means beginning, ha means breaking, and kyū means rapid or urgent. The term originated in gagaku , ancient courtly music, to indicate gradually increasing tempo and was adopted in various Japanese traditions including Noh, tea ceremony, poetry, and flower arrangement. Jo-ha-kyū is incorporated in the traditional five-play program of Noh. The first play

1378-414: The beginning of Muromachi period marked the increasing power of the samurai class and strengthened the relationship between the shogunate and the court. As Noh became the shōgun ' s favorite art form, Noh was able to become a courtly art form through this newly formed relationship. In 14th century, with strong support and patronage from shōgun Ashikaga Yoshimitsu , Zeami was able to establish Noh as

1431-401: The boats, wells, altars, and bells, are typically carried onto the stage before the beginning of the act in which they are needed. These props normally are only outlines to suggest actual objects, although the great bell, a perennial exception to most Noh rules for props, is designed to conceal the actor and to allow a costume change during the kyōgen interlude. Noh theatre is accompanied by

1484-409: The central "stage" ( honbutai , "main stage"). The theatre itself is considered symbolic and treated with reverence both by the performers and the audience. One of the most recognizable characteristic of Noh stage is its independent roof that hangs over the stage even in indoor theatres. Supported by four columns, the roof symbolizes the sanctity of the stage, with its architectural design derived from

1537-545: The central Buddhist, Shinto , and minimalist aspects of Noh's aesthetic principles. Noh masks (能面 nō-men or 面 omote ) are carved from blocks of Japanese cypress (檜 " hinoki "), and painted with natural pigments on a neutral base of glue and crushed seashell. There are approximately 450 different masks mostly based on sixty types, all of which have distinctive names. Some masks are representative and frequently used in many different plays, while some are very specific and may only be used in one or two plays. Noh masks signify

1590-455: The characters' gender, age, and social ranking, and by wearing masks the actors may portray youngsters, old men, female, or nonhuman ( divine or demonic ) characters. Only the shite , the main actor, wears a mask in most plays, although the tsure may also wear a mask in some plays. Even though the mask covers an actor's facial expressions, the use of the mask in Noh is not an abandonment of facial expressions altogether. Rather, its intent

1643-534: The chorus, the orchestra, and at least one shite and one waki actor. Actors begin their training as young children, traditionally at the age of three. Zeami identified nine levels or types of Noh acting. Lower levels emphasize movement. Higher levels are metaphorically compared with the opening of a flower and involve spiritual prowess. There are five extant schools training shite actors: Kanze (観世), Hōshō (宝生), Komparu (金春), Kongō (金剛), and Kita (喜多). Each school has its own iemoto family that carries

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1696-513: The costumes became stylized with certain symbolic and stylistic conventions. During the Edo (Tokugawa) period, the elaborate robes given to actors by noblemen and samurai in the Muromachi period were developed as costumes. The musicians and chorus typically wear formal montsuki kimono (black and adorned with five family crests) accompanied by either hakama (a skirt-like garment) or kami-shimo ,

1749-549: The current repertoire performed by the five existing Noh schools. The current repertoire is heavily influenced by the taste of aristocratic class in Tokugawa period and does not necessarily reflect popularity among the commoners. There are several ways to classify Noh plays. All Noh plays can be classified into three broad categories. While Genzai Noh utilizes internal and external conflicts to drive storylines and bring out emotions, Mugen Noh focuses on utilizing flashbacks of

1802-537: The first women joined the Association for Japanese Noh Plays. In 2007, the National Noh Theatre began to annually present regular programs by female performers. In 2009, there were about 1200 male and 200 female professional Noh performers. The concept of jo-ha-kyū dictates virtually every element of Noh including compiling of a program of plays, structuring of each play, songs and dances within plays, and

1855-650: The five major schools of Noh, four were established: the Kanze school , established by Kan'ami and Zeami; the Hōshō school established by Kan'ami's eldest brother; the Konparu school; and the Kongō school. All of these schools were descendants of the sarugaku troupe from Yamato Province. The Ashikaga Shogunate supported only the Kanze school among the four schools. During the Edo period , Noh continued to be an aristocratic art form supported by

1908-490: The formation of a new, modernized government resulted in the end of financial support by the state, and the entire field of Noh experienced major financial crisis. Shortly after the Meiji Restoration both the number of Noh performers and Noh stages greatly diminished. The support from the imperial government was eventually regained partly due to Noh's appeal to foreign diplomats. The companies that remained active throughout

1961-577: The government in 1983 stages regular performances and organizes courses to train actors in the leading roles of nōgaku . Noh was inscribed in 2008 on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO as Nōgaku theatre. Although the terms nōgaku and Noh are sometimes used interchangeably, the Japanese government's definition of " nōgaku " theatre encompasses both Noh plays and kyōgen plays. Kyōgen

2014-417: The impression that anything that could provide any shading has been banished. To break such monotony and make something happen is no easy thing." Another unique feature of the stage is the hashigakari , a narrow bridge at upstage right used by actors to enter the stage. Hashigakari means "suspension bridge", signifying something aerial that connects two separate worlds on a same level. The bridge symbolizes

2067-400: The mask to capture more light, revealing more features that appear laughing or smiling. Facing downward, or "clouding" it, will cause the mask to appear sad or mad. Noh masks are treasured by Noh families and institutions, and the powerful Noh schools hold the oldest and most valuable Noh masks in their private collections, rarely seen by the public. The most ancient mask is supposedly kept as

2120-505: The most prominent theatre art form of the time. In the 14th century, during the Muromachi period (1336 to 1573), Kan'ami Kiyotsugu and his son Zeami Motokiyo reinterpreted various traditional performing arts and completed Noh in a significantly different form from the traditional one, essentially bringing Noh to the present form. Kan'ami was a renowned actor with great versatility playing roles from graceful women and 12-year-old boys to strong men. When Kan'ami first presented his work to

2173-557: The mythic nature of Noh plays in which otherworldly ghosts and spirits frequently appear. In contrast, hanamichi in Kabuki theatres is literally a path ( michi ) that connects two spaces in a single world, thus has a completely different significance. Noh actors wear silk costumes called shozoku (robes) along with wigs, hats, and props such as the fan. With striking colors, elaborate texture, and intricate weave and embroidery, Noh robes are truly works of art in their own right. Costumes for

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2226-520: The name of the school and is considered the most important. The iemoto holds the power to create new plays or modify lyrics and performance modes. Waki actors are trained in the schools Takayasu (高安), Fukuou (福王), and Hōshō (宝生). Two schools train kyōgen actors: Ōkura (大蔵) and Izumi (和泉). Eleven schools train instrumentalists, each school specializing in one to three instruments. The Nohgaku Performers' Association ( Nōgaku Kyōkai ), with which all professionals are registered, strictly protects

2279-410: The past and the deceased to invoke emotions. Additionally, all Noh plays may be categorized by their style. All Noh plays are divided by their themes into the following five categories. This classification is considered the most practical, and is still used in formal programming choices today. Traditionally, a formal 5-play program is composed of a selection from each of the groups. In addition to

2332-541: The same term [REDACTED] This disambiguation page lists articles associated with the title Ikuta . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Ikuta&oldid=1234171548 " Categories : Disambiguation pages Disambiguation pages with surname-holder lists Japanese-language surnames Hidden categories: Articles containing Japanese-language text Short description

2385-585: The same time by the Empress. It contains the Settsu Sannomiya According to Nihon Shoki , it was founded by the Empress Jingū at the beginning of the 3rd century AD to enshrine the kami Wakahirume . It was one of three shrines established at this time; the others are Hirota Shrine , dedicated to Amaterasu , and Nagata Shrine , dedicated to Kotoshiro-nushi (also known as Ebisu ). During

2438-422: The speaking parts " Kataru ". The music has many blank spaces ( ma ) in between the actual sounds, and these negative blank spaces are in fact considered the heart of the music. In addition to utai , Noh hayashi ensemble consists of four musicians, also known as the "hayashi-kata", including three drummers, which play the shime-daiko , ōtsuzumi (hip drum), and kotsuzumi (shoulder drum) respectively, and

2491-524: The stage, or carry it tucked into the obi (the sash). The fan is usually placed at the performer's side when he or she takes position, and is often not taken up again until leaving the stage. During dance sequences, the fan is typically used to represent any and all hand-held props, such as a sword, wine jug, flute, or writing brush. The fan may represent various objects over the course of a single play. When hand props other than fans are used, they are usually introduced or retrieved by kuroko who fulfill

2544-521: The term sangaku referred to various types of performance featuring acrobats, song and dance as well as comic sketches. Its subsequent adaptation to Japanese society led to its assimilation of other traditional art forms." Various performing art elements in sangaku as well as elements of dengaku (rural celebrations performed in connection with rice planting), sarugaku (popular entertainment including acrobatics, juggling, and pantomime), shirabyōshi (traditional dances performed by female dancers in

2597-421: The traditions passed down from performers' ancestors (see iemoto ). However, several secret documents of the Kanze school written by Zeami, as well as materials by Konparu Zenchiku , have been diffused throughout the community of scholars of Japanese theatre. Noh performance combines a variety of elements into a stylistic whole, with each particular element the product of generations of refinement according to

2650-407: The word nōgaku . Noh is a classical tradition that is highly valued by many today. When used alone, Noh refers to the historical genre of theatre that originated from sarugaku in the mid 14th century and continues to be performed today. One of the oldest forerunners of Noh and kyōgen is sangaku  [ ja ] , which was introduced to Japan from China in the 8th century. At the time,

2703-448: The worship pavilion ( haiden ) or sacred dance pavilion ( kagura-den ) of Shinto shrines. The roof also unifies the theatre space and defines the stage as an architectural entity. The pillars supporting the roof are named shitebashira (principal character's pillar), metsukebashira (gazing pillar), wakibashira (secondary character's pillar), and fuebashira (flute pillar), clockwise from upstage right respectively. Each pillar

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2756-512: Was descended from the sarugaku troupe which had played active roles in Kasuga-taisha and Kofuku-ji in Yamato Province . Another theory, by Shinhachirō Matsumoto, suggests Noh originated from outcastes struggling to claim higher social status by catering to those in power, namely the new ruling samurai class of the time. The transfer of the shogunate from Kamakura to Kyoto at

2809-528: Was reproduced by others, generally resulting in an increasingly slow, ceremonial tempo over time. In this era, the Tokugawa shogunate appointed Kanze school as the head of the four schools. Kita Shichidayū (Shichidayū Chōnō), a Noh actor of the Konparu school who served Tokugawa Hidetada , founded the Kita school, which was the last established of the five major schools. The fall of the Tokugawa shogunate in 1868 and

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