Shite - Do

(1) The leading role in Noh. Shite, Tamete. A performer who holds absolute importance in a play, and at the same time has the authority to direct and supervise. Unlike Waki, who always plays the role of a real man, Shite can also play the role of a woman, an old man, a god, a demon, or a spirit, and has the privilege of wearing a Noh mask. In Noh, which is divided into two parts, with Shite leaving the stage for a moment (nakairi), the part before the re-entry is called Mae-Shite, and the part after the re-entry is called Chi-Jite. It is common for the same character to re-enter in a new costume (e.g. "Izutsu" and "Mii-dera"), but there are also cases where completely different characters are used in the re-entry (e.g. "Funabenkei"). In such cases, the same actor plays the role as a rule. There is only one Shite per play, but there are also cases where a particularly important Tsure is treated as both Jite and treated as equals (e.g. "Futari Shizuka" and "Semimaru"). There are five schools of shite actors in contrast to the three roles (waki, hayashi and kyogen), namely Kanze, Konparu, Hosho, Kongo and Kita. Until the Edo period, the four troupes except for the Kita school had their own three actors. Since the Meiji period, they have been on a free contract basis for each event. In addition to shite, the roles subordinate to shite such as tsure, tomo and kokata, jiutai, homage and production of tsukurimono are all responsibilities of the shite.

(2) The leading role in a kyogen play. Also called omo. Unlike Noh, where there is no separate role, kyogen actors play both shite and the opposing role, omo.

[Masuda Shozo]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

(1)能の主役。仕手、為手。一曲のなかで絶対的な重さをもつ演者であると同時に、演出、監督の権限を有する。つねに現実の男性の役であるワキに対し、シテは女・老人・神・鬼・霊などにも扮(ふん)し、能面をつける特権をもつ。前後2段に分かれ、シテがいったん楽屋などに退場（中入(なかいり)）する能では、中入前を前シテ、中入後を後(のち)ジテとよぶ。同一人物が扮装を改めて再登場するのが普通だが（例『井筒』『三井寺(みいでら)』）、前後まったく異なる人物の場合もある（例『船弁慶』）。そのときも同一役者が演ずるのが原則。シテは一曲一人であるが、とくに重要なツレを両ジテとして同格に扱う場合もある（例『二人静(ふたりしずか)』『蝉丸(せみまる)』）。三役（ワキ方、囃子(はやし)方、狂言方）に対するシテ方には、観世・金春(こんぱる)・宝生(ほうしょう)・金剛・喜多(きた)の五流がある。喜多流を除く四つの座は、江戸時代までは専属の三役を擁していた。明治以降は催しごとの自由契約制となっている。シテのほか、ツレ・トモ・子方などシテに従属する役、地謡(じうたい)方、後見方、作り物の製作はシテ方の職責である。

(2)狂言の主役。オモともいう。能のように独立の職種ではなく、狂言方はシテにも相手役のアドにも扮する。

［増田正造］

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