Big beshi - Big beshi

...For the small roles, there is the most commonly used "Shidai," which is used for a variety of roles, including men and women (except for the elderly), people of high and low rank, and monks and laypeople; "Shinnoshidai," in which the waki and wakizure from waki-noh play appear briskly, as in "Arashiyama," "Kamo," and "Takasago"; "Itsusei," which is used mainly for characters such as incarnations, ghosts, and spirits (as often used as "Shidai"); "Shinnoichikosei," in which the mae-jite and tsure from waki-noh play such as the elderly appear solemnly; and "Ashirai-de," which gives the impression that the shite has suddenly appeared in plays such as "Kinuta" and "Kumano." Taikomono include "Deha," used for the entrance of non-human characters such as gods, Buddhas, devils, and spirits, as in "Ama," "Satsushoseki," and "Nomori," "Oobeshi," in which tengu and other deities with strange features make grand appearances, as in "Kurama Tengu," "Sagariha," in which heavenly immortals make elegant appearances, as in "Shoujo" and "Xiwangmu," and "Shinnoraijo," used for the entrance and seating of Tang emperors, as in "Kantan" and "Tsurukame." In addition, "Nainoribue," played by the flute (Nohkan) alone, is often used for the entrance of the waki at the beginning of a piece.

*Some of the terminology explanations that mention "Obeshi" are listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…大小物には，老人を除く男女，貴賤，僧俗などさまざまな役に用いる最も使用例の多い〈次第（しだい）〉，《嵐山》《賀茂》《高砂》など脇能のワキ･ワキヅレがさっそうと登場する〈真ノ次第〉，おもに化身，幽霊，精などの役に用いる〈一声（いつせい）〉(〈次第〉と同様に使用例が多い)，老人など脇能の前ジテ･ツレが荘重に登場する〈真ノ一声〉，《砧（きぬた）》《熊野（ゆや）》などでいつのまにかシテが登場していたという趣の〈アシライ出〉などがある。　太鼓物には，《海人（あま）》《殺生石》《野守（のもり）》など，神仏，鬼畜，精などの非人間的な役の登場に用いる〈出端〉，《鞍馬天狗》のように天狗や異相の神などが豪壮に登場する〈大（おお）ベシ〉，《猩々》《西王母》など天仙が風流的に登場する〈下リ端（さがりは）〉，《邯鄲》《鶴亀》など唐人の帝王の登場や着座に用いる〈真ノ来序〉などがある。そのほか，笛(能管)単独で奏する〈名ノリ笛〉は曲の冒頭のワキの登場に用いられ，使用例が多い。…

※「大ベシ」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報