No Drama

NO DRAMA. In Japan in the beginning of the 15th cen tury, the Saru-gaku (lit. "monkey music," consisting of juggling feats and comic remarks with actions to suit) of Yamato province was revolutionized by Kan-nami Kiyotsugu and his son Se-ami Motokiyo, and what is now known as no-gaku, or no music ol drama resulted. Not only did these two geniuses, under the en couraging patronage of the Shogun Yoshimasa, build on what was best in their own Saru-gaku, but they drew freely from Den-gaku (lit. "rice-field music") which had much in common with the Saru-gaku. What was graceful in them was ennobled to pro fundity in the no, while their comical elements developed into kyogen (comic performance) usually given in conjunction with the no.

The no"-gaku constituted the principal form of entertainment among aristocrats and the warrior class in the feudal Japan. It was sometimes given in the presence of the emperors, and there prevailed a custom for a time to invite the common people to the performances given in commemoration of some happy events by the Tokugawa Shoguns, who used the no on all cere monial occasions.

Staging.

The no is performed on a wooden stage built above the ground, the regular size of which now is 18 ft. square, open on three sides, with a narrow extension on one side for the singers, and another on the back of the stage for the musicians and attendants. To that rear extension is attached aslant a passage called hashigakari (a bridge). The players appear from under the curtain at the one end of which the passage slightly slopes down. The stage, too, is very slightly tilted to the front. For acoustic purposes, big ceramic jars are placed, generally seven under the stage and two or more under the passage according to its length. Three pine saplings are planted at intervals along the front of the bridge. The wooden wall called kagami-ita (mirror board) on the back of the rear extension, forming a background to the stage, is always decorated with a painting of a pine tree, and the narrow panel adjoining it on the side with that of bamboo. These paintings, together with the saplings, may be taken to indicate that originally the no was performed in the woods.

Character of the No Pieces.—The no pieces, which number more than 250, are classified into five groups for convenience: (I) waki-no (pieces in which waki, the secondary character, assumes preponderance in the play) generally dealing with Shinto or Buddhist deities; (2) Shura-mono, which commonly deals with ghosts of warriors; (3) Kazura-mono, with noble ladies acting the main parts; (4) Genzai-mono, or present-day piece, dealing with love, insanity and other manifestations of human nature; (5) pieces dealing with demons or goblins as subjects, or those of congratulatory nature with gay and joyous elements. For each programme of no performance, which generally lasts a whole day, one from each of the above-mentioned five classes is given in the order mentioned, with a kyogen between each and generally a dance in an ordinary dress in addition. The whole programme is preceded by a piece called "Okina," which is held in special reverence, the person acting its chief character, Okina, symbolizing the radiant sun-goddess.

Construction of No Pieces.—The construction of the no piece, though by no means uniform, is generally as follows. A waki (the secondary role), generally a monk or a minister of State, first appears and tells who he is. Then he walks a while, singing, suggesting that he is travelling. Coming to a standstill, he announces his arrival at a certain famous spot and takes his place by the post at the front right-hand corner facing the stage.

Then the maye jite (the principal character in the first ap pearance) comes in the form of a farmer, fisherman or priest, etc., describing the scenery of the place, or speaking to waki resting at the post. The waki questions him, and the maye jite gives an historical account of the place and of heroes connected with it, or relates the origin of the temple or shrine as the case may require, thus furnishing the audience with a necessary back ground to the play. The maye jite then retires in a hurry. He was in reality no other than a Shinto or Buddhist deity, or a ghost of a warrior, in disguise. While waki is startled by the sudden disappearance, there come to the stage common farmers or wood-choppers and give in plain language, spoken more or less in the ordinary way, all detailed information concerning the place, generally reiterating what was already given in intonation, and retire. This allows a necessary time for the principal char acter to change for reappearance. While waiting, the waki sings, indicating a lapse of time. When it comes to an end, the nochi jite (the principal character in the latter appearance) in proper form and attire as a Shinto or Buddhist deity, or a spirit of a hero, comes to the stage and dances as if in a night stroll, re vealing some spiritual attributes. In words and in action he re counts his bravery, his death struggle, or his suffering in the underworld, asking for the prayer of the waki for the peaceful repose of his soul. The shite tells his story as he performs, or he merely dances without any intonation. Generally there is a chorus who intonate either alone or with the performers.

Music and Accessories.—Generally several persons sitting on the side extension sing either in chorus, by themselves, or together with the performer. The musicians on the rear extension consist ordinarily of a player each on the transverse flute, the tsuzumi (small drum struck with tips of fingers over the shoulder), the okawa (a slightly larger drum struck on the knee also with tips of fingers) and the drum beaten with two sticks.

The accessories used on the stage in connection with the play are very simple. A fan is much in evidence in the dance (see FANS), the studied use of which is very effective with the manipu lation of big sleeves. Costumes used in the no are marvels of textile fabrics, refined taste being revealed in bold yet harmonious designs and colours. Above all, the mask to be worn by the principal character (shite) and the assistant (shite-zure) is a very important part of the no performance (see MASKS). There have been great masters among carvers of no masks in the feudal Japan whose works still remain in a large number.

Main Schools.—Ever since the great reformation at the be ginning of the century, the no has had four main ac knowledged schools or houses : Kwanze, Komparu, HashO and Kongo, all of which are still thriving. Later, another school, Kita won official recognition, while still another, Umewaka, also has many followers, the variation upheld by each school being but slight. On the whole, the no performance may well be compared to a masterful oriental picture in black monochrome, both being guided by highly idealistic aims and with artistic aspirations with many points in common, possessing alike great impelling qualities that thrill the devotee and weary the uninitiated. It has greatly influenced the Japanese stage and ordinary forms of dance known as mai, or odori, and it is bound to continue to do so. (See THEATRE; JAPANESE ART; PANTOMIME.)