Each of us were assigned a different component of Noh theatre and were asked to research on the specfic topic. And so I was responsible for researching the Noh stage. I discovered that the Noh stage consists of a pavilion or a shelter-like structure made completely of Japanese cypress wood. This structure comes from the traditional kagura stage of Shinto shrines. And so each pillar of the pavilion is named for each specific role of the play: the waki-bashira in the front, right; the shite-bashira in the rear, left; the fue-bashira in the rear, right; and the metsuke-bashira/"looking pillar" in the front, left. Because walking is a key component in Noh theatre, the floors are waxed so that the actors can glide across. Under the stage are giant pots or bowl structures so that the floor resonates as the actors stomp on the floor. And because of this the stage is elevated about three feet to allot space for all these pots. The only decoration on the stage is the painted pine tree in the back to represent either a famous pine tree in Shinto at the Kasuga Shrine or as a memory of Noh's artistic predecessors. Also, to the right of the stage is a narrow bridge where the main actors enter.
We were also taught how to walk according to the Noh style. Rather than walking as how we typically walk, we were taught the specific method of how Noh actors walk. They do this by putting their feet together but angled out at about 45 degrees. Then they place one foot in front, pivot the other foot, and place the pivoted foot next to the foot in front. And so they just repeat this method for the other foot and continue doing so. Even after practicing this a few times, it was still a difficult feat and we realized that Noh actors usually take a few years to master their walk.
In addition to walking, we learned about the various aspects of a Noh mask. We learned that the masks typically have small eye holes for the actors to see through which make performing even more difficult. Noh masks are also created to just fit the actor's face so that it's a smaller mask. The materials used to make these masks consist of clay, dry lacquer, cloth, paper, and wood. Because the roles are all played by men, the actors wear masks to portray women, young boys, or old men. Actors who don't wear masks play middle-aged male characters. Female masks are usually created to portray various emotions when the actor turns his head so that a different type of lighting can hit the mask and the different angle will give the mask a different emotion.
We were also taught how to walk according to the Noh style. Rather than walking as how we typically walk, we were taught the specific method of how Noh actors walk. They do this by putting their feet together but angled out at about 45 degrees. Then they place one foot in front, pivot the other foot, and place the pivoted foot next to the foot in front. And so they just repeat this method for the other foot and continue doing so. Even after practicing this a few times, it was still a difficult feat and we realized that Noh actors usually take a few years to master their walk.
In addition to walking, we learned about the various aspects of a Noh mask. We learned that the masks typically have small eye holes for the actors to see through which make performing even more difficult. Noh masks are also created to just fit the actor's face so that it's a smaller mask. The materials used to make these masks consist of clay, dry lacquer, cloth, paper, and wood. Because the roles are all played by men, the actors wear masks to portray women, young boys, or old men. Actors who don't wear masks play middle-aged male characters. Female masks are usually created to portray various emotions when the actor turns his head so that a different type of lighting can hit the mask and the different angle will give the mask a different emotion.
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