Noh - Nou

Japanese: 能 - のう

Noh is one of Japan's traditional performing arts, and together with Kyogen, it has been performed since the Northern and Southern Courts period to the present day, and has the longest theatrical life and tradition in the world. Noh masks are used on the uniquely stylized Noh stage, and as Zeami instructed, "dance, song, two ways," it is a theatrical performance that combines abstract acting elevated to dance with musical elements of chanting and music. Since the Meiji period, the term "Nohgaku" has become common, but it is called "Sarugaku" or "Sarugaku no Noh," and Zeami used the character "Sarugaku." "Noh" means a performing art that is accompanied by singing and dancing and has a dramatic development. Dengaku noh and Ennen noh were also performed, but they did not develop like Sarugaku noh. "Yokyoku" refers to the vocal portion of Noh and its script. Zeami called Noh scripts "Nohhon."

[Masuda Shozo July 20, 2018]

History of Noh

Leading Entertainment

Sangaku, imported from the continent during the Nara period, was a miscellaneous performing art including acrobatics, light tricks, magic, and singing and dancing, but in the Heian period, humorous impersonations became mainstream and it was called Sarugaku or Sarugou. Over time, it evolved into Kyogen, a form of dialogue comedy, and Noh, a serious form of singing and dancing. Meanwhile, Sarugaku performers began to play the role of a shaman at temple ceremonies, and also performed the ancient performing art of a god bestowing blessings in the form of an old man. This is the prototype of the "Okina," which is still considered sacred as a separate type of performance today. In the latter half of the Kamakura period, Sarugaku troupes affiliated with many temples began to perform a new type of singing and dancing called Noh, and during the Nanboku-cho period, Yamato Sarugaku and Omi Sarugaku, which encompassed many branches, became major. Among these, the four Yamato Sarugaku troupes, Enmai-za, Sakato-za, Tobi-za, and Yuzaki-za, which belonged to Kofuku-ji Temple in Nara, are the basis for today's Konparu, Kongo, Hosho, and Kanze Sarugaku troupes. At the time, there were many other troupes, such as Tamba Sarugaku, Uji Sarugaku, Wakasa Sarugaku, Echizen Sarugaku, and Kii Sarugaku, but only the four Yamato Sarugaku troupes survived into the Edo period; the others were absorbed or disappeared, as seen in the case of the Tamba Sarugaku troupe Umewaka-za being merged into the Kanze troupe.

[Masuda Shozo July 20, 2018]

Kannami and Zeami

Kan'ami, who organized the Yuzakiza Theatre, and his eldest son, Ze'ami, were genius fathers who established a new genre of theater in Japanese culture. Kan'ami's achievements were that he arranged elements of song and dance from Dengaku and Omi Sarugaku into Yamato Sarugaku, which was based on imitation and asserted strength, and placed a focus on elegant beauty; he also introduced the rhythm-based technique of Kusemai to the music of Yamato Sarugaku, which was dominated by melody; and he wrote lively Noh plays that captured the interest of the masses. When Shogun Ashikaga Yoshimitsu witnessed the advance of this new performing art to Kyoto in 1374 (Bunchu 3, Oan 7), this marked the founding of the Nohgaku era. The Shogun's patronage and the efforts of the father and son dramatically elevated the artistic quality of Noh. Zeami grew up under the patronage and influence of Nijō Yoshimoto, one of the greatest cultural figures of the time, and absorbed the aestheticism of Inuōdōami (?-1413), a master of Omi Sarugaku. On top of the theatrical foundations of Yamato Sarugaku, he established Noh as a poetic drama centered on mysterious emotion, and its theory. Zeami's achievements include perfecting the outstanding theatrical ideas known today as "Mugen noh," composing numerous masterpieces, and leaving behind over twenty pieces of theatrical theory, including "Fushikaden" and "Kakyō." Zeami's later life was tragic, but his approach was refined during the Edo period, and Noh gained immortality that continues to this day. Zeami's nephew, Onami, was also a master, and Noh came to be treated as an official performing art, or "shikigaku," of the Muromachi shogunate.

[Masuda Shozo July 20, 2018]

From the late Muromachi period to the Azuchi-Momoyama period

Omi Sarugaku had Inuou, who was praised for his art of mysterious mystery, but had no successor. Meanwhile, Yamato Sarugaku was written by Konparu Zenchiku, son-in-law of Zeami, and Kanze Nobumitsu, son of Onami, and others, and Noh survived the war-torn age. Toyotomi Hideyoshi was a big fan of Noh, and in addition to dancing in the Konparu style himself, he protected Noh by setting a rice dividend. Improvements in masks and costumes were also based on the techniques and wealth of the Momoyama period. At that time, amateur performing groups called Tesarugaku were popular, and monk Noh was also popular at Honganji Temple, but the general secretary, Shimotsuma Shoshin (1551-1616), was an amateur but an outstanding master, and left behind many records of Noh performances. It is said that Noh was also used as a means of evangelism, known as Kirishitan Noh, such as "Adam and Eve" and "Noah's Ark."

[Masuda Shozo July 20, 2018]

Edo period

Tokugawa Ieyasu was familiar with Kanze-style Noh from an early age, but during the reign of the third shogun, Iemitsu, the four Yamato Sarugaku troupes became direct subordinates of the Tokugawa Shogunate, and the Kita-style was newly recognized and called the Four Troupes and One School. Noh ceased to produce new works and became a classical art form, and was placed under the control of a hereditary Iemoto system, with a division of labor between shite and waki actors established. The repertoire also became fixed, and the pieces were registered with the Shogunate as "kakiage." There were also reforms by Kanze Motoakira's Meiwa (1764-1772), who attempted to streamline the lyrics and direction of Noh, but in the Edo period, efforts were focused on the samurai spirit and the refinement of technique, and it was during this period that the scale and rhythm of Noh chanting and the rules of direction were largely fixed. The fifth Shogun, Tsunayoshi, and others were enthusiastic Noh performers, and each feudal lord employed Noh actors. The high level of Noh can be seen from the fact that many masters in the Noh world since the Meiji period, such as Sakurama and Tomoeda families of the Kumamoto domain and Awaya families of the Hiroshima domain, have produced many masters. Kaga Hosho in Kanazawa also continues to carry on the tradition. Noh chanting was also very popular among townspeople, and the publication of textbooks was truly remarkable, and they were even used as textbooks in temple schools. On the other hand, the tradition of ritual Noh such as the Takiginou (firewood Noh) of Kofuku-ji Temple and the Kasuga Wakamiya On Festival was passed down, and in addition to ceremonial events of the Shogunate, there were also Machiiri Noh, where townspeople were invited to the Honmaru of Edo as a free-for-all for the inauguration of a Shogun, large-scale Kanjin Noh performances held with the Shogunate's permission, and ceremonial Noh at the Imperial Palace and Hongan-ji Temple. The Sakai clan was also seen protecting Kurokawa Noh, which had been passed down by farmers.

[Masuda Shozo July 20, 2018]

After the Meiji Period

The collapse of the Tokugawa Shogunate with the Meiji Restoration dealt a fatal blow to Noh. However, thanks to the efforts of Noh performers, the new aristocracy who began to consider introducing foreign arts such as opera and ballet to Japan, and the love of Noh among the Imperial family, Noh was revived. The Three Masters of the Meiji Era - the 16th Hōshō Kuro, the 1st Umewaka Minoru, and Sakurama Banma - and their successors produced many masters, creating a golden age for the art from the Taisho era through the Showa era and World War II. Among the shite actors were the brothers Umewaka Manzaburo the 1st and Umewaka Minoru the 2nd of the Kanze school, Kanze Kasetsu, Hashioka Kyutaro, and Kanze Sakon, Matsumoto Nagashi and Noguchi Kanesuke of the Hōshō school, Sakurama Kyūsen of the Konparu school, Kongō Ukyo and the 1st Kongō Iwao of the Kongō school, Kita Roppeita of the Kita school, and Wa The ki-kata (playing the main role) was played by Hōshō Shin, the hayashi (playing the main role) was played by Kawasaki Kyuen and Kō Yoshimitsu, and in kyōgen (playing the main role) Shigeyama Chuzaburō III (1895-1959), Zenchiku Yagoro, Yamamoto Tōjirō III, Shigeyama Sensaku II and III, and Nomura Manzō VI were active. Each school held regular Noh performances in their own Noh theaters, and former feudal lords such as Hosokawa, Ii, and Matsudaira also built Noh stages.

[Masuda Shozo July 20, 2018]

After World War II

During the war, most of the Noh theaters and many of the successors were lost, but they were eventually restored, and after the deaths of the masters, a big boom occurred, and the number of events is the greatest since Zeami. New trends after the war include the fact that overseas Noh performances have become an annual event since 1954 (Showa 29) and have been highly praised as avant-garde theater, female Noh performers were officially recognized (1948), outdoor Noh performances called takigi-noh have spread throughout the country and are now established in over 120 locations, and the opening of the National Theater Noh Theater (1983). There are many problems, such as an imbalance in successors depending on the role and style, problems with the method of transmission, and the mindset of actors becoming salarymen, but this can also be considered an era in which Noh gained support from a wide range of generations and blossomed anew. The creation of Noh in English and the appearance of foreign performers are also phenomena that cannot be overlooked.

In 1955, a system of comprehensive certification of Important Intangible Cultural Properties and individual certification (Living National Treasures) was launched, and Nohgaku received comprehensive certification in 1957. As of 2017, the individual certified actors in the shite category include the late Kita Roppeita, the late Kondo Kenzo, the late Goto Tokuzo, the late Sakurama Michio, the late Toyoshima Yazaemon, the late Matsumoto Shigeo (1915-2003), the late Awaya Kikuo (1922-2006), the late Kanze Tetsunojo VIII, the late Takahashi Susumu, the late Katayama Yusetsu (Katayama Kuroemon, 1930-2015), the late Mikawa Izumi (1922-2016), Tomoeda Akiyo (1940-), and Umewaka Gensho II (1948- ), the late Shiro Nomura (Gensetsu Nomura, 1936-2021), Bunzo Otsuki (1942- The supporting actors were the late Matsumoto Kenzo, the late Hōshō Yaichi, the late Mori Shigeyoshi (1916-1991), and the late Hōshō Kan (1934-2016), and the musical accompaniment was the late Kawasaki Kuen, the late Yuki Yoshimitsu, the late Kamei Toshio, the late Kakimoto Toyoji, the late Yasufuku Haruo, the late Fujita Daigorō, the late Yuki Nobuyoshi, the late Uzawa Hisashi (1908-1997), the late Seo Noritake (1899-1997), the late 22nd Konparu Soemon (1924-2014), the late Yasufuku Ken'ichi (1938-2017), the late Sowa Hiroshi (1925-2015), and Kamei Tadao (1941- ), the late Kitamura Osamu (1936-2012), the late Isso Hisayuki (1940-2018), Okura Genjiro (1957-), Mishima Gentaro (1936-), and the kyogen performers are the late Zenchiku Yagoro, the late Nomura 6th Manzo, the late Shigeyama Sensaku III, the late Miyake Tokuro 9th, the late Shigeyama Sengoro (Shigeyama Sensaku 4th), Nomura Manzo 7th, Nomura Mansaku 2nd (1931-), and Yamamoto Toujiro 4th (1937-).

[Masuda Shozo July 20, 2018]

The Noh System

In Japanese history, entertainers have always had a low position and been treated as outlaws. Zeami was beloved by Ashikaga Yoshimitsu, and when he exchanged sake cups with visitors to a festival, one aristocrat wrote of his indignation, saying that the Shogun should be treated like a beggar. In the Edo period, Noh became the Shogun's ceremonial music and was treated as a samurai. For example, the Kanze Dayu was given a stipend of 256 koku, but in reality he lived like a feudal lord. Even after the Meiji period, Noh actors maintained a high sense of dignity, and there was even a school of Kyogen that was abolished after it was discovered that the performers had taught the art to Kabuki actors. During World War II, they even fought with the Metropolitan Police Department by refusing to receive an entertainer's license. Even after the war, he remained adamant about refusing to work with other theater people, but after being influenced by the new theater movement led by Takechi Tetsuji, this rigidity faded and he was freed to appear in everything from films to television commercials, which was probably a sign of the times.

Noh actors (Nohgakushi) are divided into seven specialties: shite and the san'yaku (waki, four types of hayashi, and kyogen). They are not allowed to switch roles or take on multiple roles, and the same role cannot appear on the same stage with another school, but this prohibition is tending to be relaxed. In the Edo period, they were exclusive to the theater, but since the Meiji period, the san'yaku have a free contract system and perform on stages organized by the shite. In principle, the schools are governed by a hereditary iemoto system. The san'yaku also have iemoto, but the iemoto system for the shite is strong, and they have a wide range of powers, including the right to direct, revise the direction and lyrics, perform, issue licenses, certify qualifications, and make personnel decisions, sanctions such as excommunication, and issue and enforce the use of utaihon. There is no system like the natori system of Japanese music, but it is nearly impossible to establish a new school. The Umewaka family, which was merged with the Kanze troupe in the early Edo period, fought to establish itself as a first-class school from the Taisho period through to the end of World War II, with even GHQ intervening, but it was eventually reinstated into the Kanze school. The iemoto system has been criticized in many ways, and there are also trends toward democratization, such as the corporate ownership of Noh masks and costumes, but no alternative or parallel organization has yet been established.

[Masuda Shozo July 20, 2018]

Shite actor

The Kanze and Hosho schools, which have similar artistic traditions, are called "kamigakari," while the Konparu, Kongo, and Kita schools are called "shimogakari." Each of the five schools has its own repertoire, and even for the same piece, there are differences in the script, characters, and direction. The shite is the center of Noh, and can play any role, from demons, gods, and ghosts, regardless of age or gender, and has the privilege of using Noh masks. The jiutai, a unison chorus of 6 to 12 people, also come from the shite (however, when jiutai is needed for ai-kyogen, it is shared by the kyogen). Roles subordinate to the shite are called tsure, and there are examples such as "Kosode Soga" and "Semimaru" in which they are treated as both shites. A large number of actors dressed in the same costume are called a "tachishu" (a group of actors), and a lower-ranking tsure is called a "tomo". In principle, the "kokata" (child actors) start from the "shite" (the shite). Each role has its own "koken" (a guardian), but the "koken" of the "shite" is particularly important, as it functions as a stage director and is responsible for continuing the dance in the event of an accident such as a shite falling on stage.

[Masuda Shozo July 20, 2018]

Armpit

From the end of the Muromachi period, the waki became independent from the shite and became a specialist. There are also schools that transmit scripts different from the shite. In contrast to the poetic presence of the shite, the waki always dresses as real men, does not use Noh masks, and does not dance. Depending on the piece, the waki may also be accompanied by wakizure. Currently, there are the Fukuo, Takayasu, and Shimogake Hosho schools, but this is the role that faces the greatest difficulty in finding successors.

[Masuda Shozo July 20, 2018]

Musicians

There are four specialists: flute players, kotsuzumi players, otsuzumi players, and taiko players, each with their own style. Depending on the piece, the taiko players may not participate. The hayashi players also pass on the scores of each style, and the performance is based on that combination. Note that the hayashi players are not so-called accompaniment roles, but rather play important roles that engage one-on-one with the shite. In some cases, they also participate in the kyogen.

[Masuda Shozo July 20, 2018]

Kyogen performer

Nowadays, scripts often differ depending on not only the school but also the family. While performing independent kyogen, they also take on the roles of Sanbaso and Furyu in "Okina" and participate in Noh as ai-kyogen. In ai-kyogen, they may appear as a narrator to bridge the gap between scenes, be directly involved in the progress of the Noh, or have a separate script inserted.

[Masuda Shozo July 20, 2018]

Noh plays

More than 2,000 scripts have been handed down, but the number of current pieces that each school has as its official repertoire is over 260, across all five schools. Some Noh pieces are found in all five schools, while others are only passed down in one school. The titles and spellings of the pieces can differ depending on the school. There are also old pieces from the Dengaku and Omi Sarugaku schools, but these were created over a period of about 200 years, spanning five generations since Kan'ami. While only about half of the pieces have a known author, it is noteworthy that most were written by Noh actors themselves. This is because, as a kind of musical, Noh requires that lyrics, music, and dance be written in close coordination and simultaneously. Zeami pointed out that in order to compose Noh, one must study the art of waka poetry.

[Masuda Shozo July 20, 2018]

Works and Authors

Zeami emphasized that the first condition for Noh is "correct Noh theory." It is based on classics and history, and seeks subject matter from a wide range of previous literary works, from the Kojiki to the Soga Monogatari. This is intended to stimulate the audience's knowledge and create a synergistic effect, like the technique of "honka-dori" in waka poetry. The style of Noh plays aims for an aesthetic sense that appeals to the ears, a chain reaction of images like linked verse, rather than logical development, and has created a unique form of poetic drama.

Kannami wrote dramatic Noh plays full of the breath of the early Noh period, such as "Matsukaze," "Sotoba Komachi," "Kayoi Komachi," and "Jinekoji." He was an unparalleled writer of dialogue. Zeami preached that having one's own Noh works was the key to winning over other theatres, and he sublimated emotion to create tightly knit and elegant Noh plays, perfecting the dreamlike Noh play in the form of a recollection. His works include "Takasago," "Oimatsu," "Kiyotsune," "Sanemori," "Izutsu," "Higaki," "Hanjo," "Kinuta," "Koinoomoni," "Nue," "Toru," and others. His eldest son, Kanze Motomasa, for some reason did not compose fantasy Noh, but left behind sharp Noh in the style of modern drama with dark themes that seem to project a fate of young death, such as "Sumidagawa," "Utaura," "Yoroboshi," and "Morihisa." Miyamasu, who seems to be of a younger generation than Zeami, composed Noh in a different style, including "Yochisoga," "Settai," and "Kurama Tengu." Zeami's son-in-law, Konparu Zenchiku, further developed Zeami's fantasy Noh style, demonstrating his own unique poetic realm with works such as "Teika," "Yang Guifei," "Basho," and "Ugetsu." Kanze Nobumitsu, the son of Zeami's nephew, brought a new style to Noh, pioneering a show-like style that was later inherited by Kabuki. His works include "Kanemaki Dojoji," "Momijigari," and "Funabenkei." The creation of Noh essentially ended with the generation of Konparu Zenpo, Zenchiku's grandson, who wrote "Arashiyama" and "Ikkaku Sennin," and Kanze Nagatoshi, Nobumitsu's son, who wrote "Oyashiro" and "Shozon." "Taikou Noh," such as "Akechi Uchi," in which Toyotomi Hideyoshi had himself written and performed the role of shite, cannot be called works of art, and the only example of Noh from the Edo period registered in the Kanze school is "Ume," performed by Kamo Mabuchi and others. In the Edo period, masterpieces such as "Kinuta" and "Koi no Oshi" were apparently not performed as Noh plays. Since the late 1970s, there has been a movement to restore forgotten plays, and some of the results include "Kasasotoba (Shigehira)", "Unrin-in (ancient work)", "Daihannya (Daihannya)", "Haruchika", "Tanba Monogurui" and others.

[Masuda Shozo July 20, 2018]

New Noh

Noh works from the Meiji period onwards are called new Noh works. The mainstream works are works by Toki Zenmaro, including "Tetsumon" and "Oku no Hosomichi" by Takahama Kyoshi. These include "Yumedono", "Shoe no Nyonin", "Paul the Apostle", "Sanetomo", "Hidehira", "Tsuru" and others. After the Second World War, there were attempts such as "Chieko Sho", a colloquial Noh work directed by Takechi Tetsuji, and "At the Hawk's Well", inspired by Noh, became "Takahime" by Yokomichi Mario (1916-2012), and was also performed as Noh in the original text by Richard Emmert (1949- ) and others. English Noh works such as "St. Francis", "Hamlet" and "Wandering Flame" are also showing new developments.

[Masuda Shozo July 20, 2018]

Composition and type of work

Noh plays range from single-act plays such as "Shojo" that have one scene to "Eboshiori" that has over 20 changes in the stage scenery, but they are limited to two types: multi-act plays in which the shite has one intermission (mae shite and atsumori shite), and single-act plays without an intermission. This is because Noh plays, which do not use pulling curtains or props or backdrops, can change scenes simply by setting the lines, and also because Noh aims to purify emotions and is not a form of theatre that aims for complex dramatic development.

Noh has specific structural units, and there is a kind of rule for how they are combined. This has the drawback of falling into stereotypes, but it is a method for prioritizing the style and musical unity of a dance-themed drama. There are roughly 50 types, including shidai (stage), ageuta (upper section), sageuta (lower section), kuri, sashi, kuse, kiri, issei, meinori, and katari. These units of chanting, together with the 50 or so types of shidai, issei, jo-no-mai, kakeri, and other units of entrance and dance accompaniment, are also collectively called "shodan" (small stages). Taking "Izutsu" as an example, the structure is as follows:

<First section> (Meinori Fue) - Meinori - Sashi - Ka - (Shida) - Shida - Sashi - Shimo Ka - Jo Ka - Dialogue - Jo Ka - Kuri - Sashi - Kuse - Rongi - Nakanuriji <Second section> Jo Ka - (Ichisei) - Sashi - Ichisei - (Jo no Mai) - Waka - Noriji - Ka For example, when compared to "Nonomiya," it is written with almost the same structure, but it depicts a completely different image of a woman. Excellent pieces establish individuality while utilizing style.

Noh can be roughly divided into "dream Noh" and "present Noh." Dream Noh can be said to be a solo performance by the shite, and uses filmic narration techniques through storytelling and flashbacks. The idea of looking at the life from a post-death point in time was an avant-garde method that freed theater from the constraints of time and space. The woman in "Izutsu" depicts eternal love, "Kiyotsune" looks at the whole picture of the fate surrounding the Heike clan, and Rokujo no Miyasudokoro in "Nonomiya" expresses her love for Hikaru Genji through the filtration of death. Gods and demons were also introduced, and they succeeded in condensing a single emotion into them. Present Noh, such as "Jigen Koji," "Ataka," and "Sumidagawa," is a type of Noh in which the drama unfolds in real time and space. Present-day Noh is not an issue, but the explanation of Mugen Noh, in which characters from dreams or beings from another dimension appear and tell the story, is difficult to govern with modern concepts, such as what about the living spirit in "Lady Aoi," whether the blessing of the gods in "Takasago" took place in a dream, and what about plays like "Momijigari" and "Kurama Tengu." Some people also call Noh that depicts humans "geki-noh" and spectacular, show-like works "furyu-noh." There are also works such as "Kinuta" and "Fujito" in which the first part is present-day Noh and the second part is in the style of Mugen Noh, and there are also Noh plays such as "Fujito" and "Funabenkei" in which the first and second shite are different characters, but the rule is that they are performed by the same actor.

[Masuda Shozo July 20, 2018]

Classification of works

In "Fushikaden," Zeami classifies Noh roles into nine categories: woman, old man, hitamen, madman, priest, Shura, god, demon, and karakoto, but these were eventually consolidated into three categories: the "old body" of serenity and dignity, the "female body" of emotion and mystery, and the "gun body" of intensity and movement. Currently, there are categories such as Jo-no-maimono and Kakerimono depending on the type of dance, but the five-part classification, commonly known as "shin, nan, nyo, kyo, and ki," has become common. It is said to be based on the Edo period performance style or the five-part binding of a utai book. "Okina" is a ritual Noh of a completely different series, performed first of the day, and is not classified anywhere. The order of performance, Okina, Waki-noh, Shura-noh, and Kazuramono, seems to have been decided long ago, and then several plays were performed, ending with a Shukugen-noh. There is a record from the Momoyama period of 17 plays being performed in one day.

(1) The first plays (waki-noh plays): 38 plays, including "Takasago," "Oimatsu," "Kamo," "Shirahige," and "Seioubo." These are plays for the blessing of the gods.

(2) Secondary plays (Shuramono): 16 plays, including "Kiyotsune," "Atsumori," "Yashima," "Yorimasa," and "Tomoe." These are plays in which the spirits of warriors who have fallen into the world of Shura appear seeking salvation. Most of them deal with the suffering of defeat and have a strong romantic flavor.

(3) Third-stage plays (wig pieces): 39 plays, including "Izutsu," "Nonomiya," "Teika," "Matsukaze," "Kakitsubata," "Kumano," and "Ohara Goko." These plays feature women as the shite and are the most profound in the ideal of Noh, ranking among the highest in the world of Noh. The plays featuring old women, such as "Sekiji Komachi," "Higaki," and "Obasute," are considered the supreme Noh.

(4) Fourth Pieces (Miscellaneous Pieces): All pieces not included in other Noh plays are lumped together. Four pieces include "Saigyozakura" and "Unrin-in", which are also treated as wig pieces. Eight pieces are similar to waki-noh plays, such as "Ugetsu" and "Miwa". Twenty-five pieces are about crazy people, such as "Hanjo", "Mii-dera", "Sumidagawa", and "Yoroboshi". Beautiful young boys, such as "Kagetsu", "Togishi Koji", and "Jigen Koji". Seven pieces are of the Chinese variety, such as "Kantan" and "Makura Jido". Eight pieces are about hell, such as "Tori no Komachi" and "Zenchidori". Eight pieces are about vengeful spirits, such as "Lady Aoi", "Dojoji", and "Aya no Tsuzumi". Nine pieces are full of human feelings, such as "Shunkan" and "Torioibune". This is a collection of 20 Noh plays featuring samurai with masks, including "Ataka" and "Yachi Soga." These plays are dramatic and popular.

(5) The Fifth Piece (Kiri-noh): A group of dynamic or refreshing Noh plays for the finale. There are 51 pieces in total, including "Nomori," "Nue," "Funabenkei," "Kurozuka," "Kurama Tengu," "Toru," "Taema," "Shakkyo," and "Shojo."

The repertoire of these Noh plays is fluid, and programs are flexible with each play being treated as roughly side-plays or roughly third-plays. Nowadays, five-play performances are rare, with one to three plays being the norm each day.

[Masuda Shozo July 20, 2018]

The influence of Noh

In the early days of Noh, many dramatic pieces very similar to those in the world of Kabuki were performed, but as Mugen Noh eventually took the lead, it was eliminated from the world of Noh, and its dramatic tendencies are said to have been transferred directly to Joruri and Kabuki. The "matsubamemono" (matsubame-mono), which are direct kabuki adaptations of Noh such as "Kanjincho", "Momijigari", "Funabenkei" and "Tsuchigumo", tended to continue from the end of the Edo period to the Showa period, but Noh pieces such as "Okina-Sanbaso", "Dojoji", "Stone Bridge", "Matsukaze", and "Yamanba" gave rise to many influences in dance and Japanese music in the early modern period and later. In literature, the Kanginshu includes many Noh poems and Kyogen songs, and the popularity of Noh songs in the Edo period played a role as a kind of digest of the classics, providing material for haiku, senryu, kanazoshi, yomihon, and kibyoshi. Matsuo Basho said that Noh songs are the haiku version of the Tale of Genji, that is, the original texts. The literature of Chikamatsu Monzaemon and Ihara Saikaku also makes use of many lines from Noh books. There are works that featured interviews with Izumi Kyoka, Koori Torahiko, Nogami Yayoiko, Enchi Fumiko, Sugimoto Sonoko, Tachihara Masaaki, and Yamazaki Masakazu, and Mishima Yukio's "Modern Noh Music Collection" has also been performed in Western Europe. Yates from Ireland wrote "The Well of the Hawk," inspired by Noh, but was imported and became a new Noh work. It is also becoming an influence on modern and electronic music.

[Masuda Masazo July 20, 2018]

Noh performance

Direction

Zeami left behind many secret books and taught the production of Noh. It can be said that the outline of the production that continues to modern times is directed by Zeami. As the theory of "flower" explains the rareness of Noh, which was unexpected for the audience, naturally, there were many fluid and improvisational elements. This was an era when outdoor Noh was also performed using actual weapons and horses.

になったんです。 English: The first thing you can do is to find the best one to do.

[Masuda Masazo July 20, 2018]

Dance, Song, Hayashi

になったんです。 English: The first thing you can do is to find the best one to do. There are also a variety of types of music that can appear and leave the characters, such as "shidai", "ichisei", "fast whistle", "famous flute", and "raijo".

The song is a unique way of pronunciation that is different from any Japanese music, such as pulling the tongue backwards and pushing down the nodoku tote. Even when dressed as a woman, the voices of the female characters of Kabuki or Chinese Peking Theater are not used at all, and they remain male. This also has a paradoxical claim to Noh. Tsuyogin is a scale and vocalization that was said to have been completed in the early Meiji period, and is an expression of strength, and the delicate Yowagin is from the time of its origin, and the scales are also detailed and clear, and the singular treatment is very different. The song does not take the idea of absolute pitch, and tries to explore the inevitable height of the day from the elements of chance, and Zeami calls this the "tone of time."

Noh's songs and music are dominated by eight rhythms, called eight or earth beats. There are three types of rhythm. The main focus is "hira nori (small)" and the sentences of the 12-tone 7-5 notes are applied to eight-and-five notes, and the subtle, and most likely improvised changes in performance are life-like. "chuu nori" is a dynamic song with two characters applied to one beat. "Oo nori" has a relaxed sense of rhythm, one character, one beat. The song has the above "hairoku nigou" part and the "hairoku waz" part that is not controlled by eight-time beats, and "wo toba" without any lines such as dialogue are also songs in a broad sense with a certain intonation.

になったんです。 English: The first thing you can do is to find the best one to do. The shouts of "Ya, Ha, Yoi, Ye, Ye, Ye, etc." are important, and not only measures the time and creates the atmosphere of the song, but it also allows for extremely complex performances without a conductor, is the function of the shouts that control each other's communication and instructions. Zeami has defined the essence of Noh as "Maika Nido" as "Kikou" (a fusion and antagonism) between dance rhythms and musical rhythms, that is, it defines Noh as a musical theatre.

[Masuda Masazo July 20, 2018]

Stage and equipment

になったんです。 English: The first thing you can do is to find the best one to do.

The philosophy of Noh is to express everything through the actions and music of the actors and music, without using backgrounds or stage sets, and to leave everything to the fantasies of the audience, but tools called "made-up" are sometimes displayed on stage as little as possible. It is characterized by extremely simple designs such as mountains, trees, torii gates, and boats, and is made from bamboo as its main material. The fan is so important that it is always used, and props such as hats, rosary beads, and swords are also used.

[Masuda Masazo July 20, 2018]

Faces and outfits

Noh masks are not a means of costume dressing, but can be said to be the core of Noh's philosophy and direction. They are treated sacredly as the hearts of Noh actors. They are called "homote" rather than men, so they are literally "front" of Noh expression. Compared to masks such as Greek dramas, Bugaku and Gigaku, they are shallow and small enough to cover their faces, and are subtle and rigorous for expressing emotions. They are not called "Kabru" but "Kakeru". They contain all the spirit of the performers. Just as the Noh performance is determined by the selected Noh mask, the Noh performance, the walking of the feet, and the design of the costume are all guided and regulated by the Noh mask. The costumes are linear and simplified compared to other theatre stage costumes, and the hard silk fabrics harmonize with the Noh mask. The geometrical abstraction of Noh's acting, which expresses emotions throughout the body, cannot be considered separately from the use of Noh masks or refined costumes. In addition, the true face roles that appear in Noh are called "hiten," and treat your own face as a Noh mask, and do not create facial expressions or make up any makeup.

[Masuda Masazo July 20, 2018]

acting

になったんです。 English: The first thing you can do is to find the best one to do. The Noh pattern always flows, causing a chain reaction, and its rhythm leads to a major theme. The unmoving pattern in which the Shite hangs around is not still, but rather supported by a strong mental effort so that the tips at the highest rotation can be seen without moving. Zeami's "impersonation" is not merely realistic, but rather a condensed expression of the high-level photographs, the reality of the object itself. The audience draws an infinite image from its extremely restrained and simple design. Therefore, Noh performers are most required to express themselves through the certainty of their skills, as well as the spirit and the action of the mind.

[Masuda Masazo July 20, 2018]

Noh and Kyogen

Noh and Kyogen are two plays, but they are also two plays. They coexist on the same stage, are performed alternately, and work together to highlight each other's characteristics. There is a difference between musicals and line plays, but they have a commonality in acting in that they are based on patterns, dances, and sings. When they participate as a part of Noh at the same time as independent Kyogen, they are called "Ai Kyogen." Sanbaso (in some styles, Senzai) in "Okina" was also the responsibility of the Kyogen style, and historically, Kyogen was the mother womb of Japanese theater. Kyogen and Kyogen have long been positioned under Noh, but in new theatrical activities after World War II, Noh and Kyogen make the same level of their characteristics, and their value has come to be justified.

[Masuda Masazo July 20, 2018]

Viewing and event

The era when many of the audience were occupied by people who practice songs as amateurs, and when Noh was seen as a special existence, it has ended, and it has gained support from a wide range of perspectives as a theatre. It is said that Noh is a promised art or needs prior knowledge, but in reality it is not the case. As a symbolic art, each person's sense and image spreads are important. It is easier to approach the essence of Noh when compared to it as an avant-garde art rather than as a classical entertainment or cultural property. Many Noh theaters and organizations are held, and there are also events organized by newspaper companies and audiences. Style-related events remain a rehearsal session, and there are two aspects of the National Noh Theater: popular performances and rare songs for record. However, the drawback is that Noh is only one day. Traditional events include Takiginou, Nara Kofukuji Temple on May 12th and 13th, Noh on the grass at the Nara Kasuga Wakamiya On Festival on December 17th and 18th, Noh on the grass at the Shinran Kasuga Wakamiya On Festival on May 21st, Shinran Natarai Noh, and Itsukushima Shrine Peach Flower Festival, which is set in the sea, from April 16th to 18th. The Kurokawa Noh Ogi Festival, conveys the legend and ancient style of the five-story Noh, on February 1st and 2nd. The outdoor Noh chanting firewood Noh has rapidly increased, and not only has it established itself all over the country, but is also being performed overseas.

[Masuda Masazo July 20, 2018]

Organizations and research institutes

The Noh Music Association is an organization that encompasses all the experts of Noh performers, and as of 2013, the number of members was 1,285. The Japan Noh Music Association is an organization of people who have been certified as an important intangible cultural property by the state, and as of 2011 there are 481 members of the Japan Noh Music Society. Among the specialized research institutes, Nogami Toyoichiro Memorial Noh Music Institute, which collects ancient documents, is unparalleled, and Musashino University Noh Music Material Center focuses on recording modern stages. There is also a Noh Music Museum in Tanba Sasayama City. Although the national theatres such as kabuki were almost 20 years behind, the National Theatre Noh Music Theater was also established in 1983, making it a hub for performances, collection of materials, and training successors to promote recognition.

[Masuda Shozo]

Registering intangible cultural heritage

In 2008, it was registered as an intangible cultural heritage by UNESCO (UN Education, Scientific and Cultural Organization) as a "Noh play."

[Editorial Department July 20, 2018]

"The Complete Collection of Noh Music by Sanari Kentaro" 7 volumes (1931, Meiji Shoin)" ▽ "Complete Collection of Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by 1935-1936, Chuokoronsha)" ▽ "Yokomichi Mario, the 40-41 Japanese Classical Literature Collection, 1960, Iwanami Shoten)" ▽ "Richard McKinnon and Nakamura Yasuo, "2 Noh Music by Japanese Traditions by Tankosha" (1967, Tankosha)" ▽ "Christmas Japanese Classical Entertainment by Entertainment History Study Group (1970, Heibonsha)" ▽ "Edited by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by Noh Music by 1979-1981, Tokyo Sogensha)" ▽ "Yamazaki Masakazu, "10 Masterpieces of Japan" Zeami (1983, Chuokoronsha) ▽ Ito Masayoshi's notes, "Shincho Japanese Classics Collection: Collection of Noh Music, 1, Naka, and Bottom" (1983-1988/New Edition, 2015, Shinchosha)" ▽ Yokomichi Mario, Koyama Hiroshi, and Shosho, "Iwanami Lectures: Noh Music, Volume 7, Separate Volume 1 (1987-1992, Iwanami Shoten)" ▽ Koyama Hiroshi, Sato Kikuo, and Sato Kenichiro's school notes and translations, "New edition of the Complete Collection of Japanese Classical Literature 58-59, Noh Music, 1, 2" (1997, 1998, Shogakukan)" ▽ Masuda Masazo's "Expression of Noh" (Chuokoronshinsho)"

Noh book
" Izutsu", Kanze school Koetsu edition, Keicho period (1596-1615), National Diet Library

Noh book

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

能は日本の伝統芸能の一つで、狂言とともに南北朝時代から現代に演じ継がれ、世界でもっとも長い演劇生命と伝統をもっている。独自の様式をもつ能舞台に、能面を用い、世阿弥(ぜあみ)が「舞歌二道」と指示したように、舞(まい)に高められ抽象化された演技と、謡(うたい)と囃子(はやし)による音楽要素の融合された演劇である。明治以降は「能楽(のうがく)」という呼び方が一般化したが、「猿楽(さるがく)」または「猿楽の能」とよばれ、世阿弥は申楽(さるがく)の字をあてている。「能」とは歌舞を伴い、劇的展開をもつ芸能の意味であり、田楽(でんがく)の能、延年(えんねん)の能も行われていたが、猿楽の能のような発達を遂げなかった。「謡曲(ようきょく)」は能の声楽部分をさし、またその脚本をいう。世阿弥は能の脚本を「能本」とよんでいる。

［増田正造　2018年7月20日］

能の歴史

先行芸能

奈良時代に大陸から輸入された散楽(さんがく)は、曲芸、軽業(かるわざ)、奇術、歌舞などの雑多な芸能であったが、平安時代には滑稽(こっけい)な物真似(ものまね)が主流となり、サルガク、サルゴウとよばれ、時代を経て対話喜劇としての狂言と、まじめな歌舞劇の能に分化していく。一方、寺院の法会における呪師(しゅし)の演技を猿楽者が担当するようになり、また神が老翁(ろうおう)の姿で祝福を与える古来の芸能も、猿楽者が勤めるようになる。今日も別系列の演目として神聖視される『翁(おきな)』の原型である。鎌倉時代後半には、多くの寺に所属した猿楽の座が、能という新しい歌舞劇を上演するようになり、南北朝時代には、多くの支流を包括する大和(やまと)猿楽と近江(おうみ)猿楽が大きな存在となる。なかでも奈良の興福寺に属した、円満井(えんまい)座、坂戸(さかと)座、外山(とび)座、結崎(ゆうざき)座の大和猿楽四座が、今日の金春(こんぱる)、金剛(こんごう)、宝生(ほうしょう)、観世(かんぜ)の基である。当時はほかに、丹波(たんば)猿楽、宇治(うじ)猿楽、若狭(わかさ)猿楽、越前(えちぜん)猿楽、紀伊(きい)猿楽などの多くの座があったが、江戸時代まで残るのは大和猿楽四座で、丹波猿楽の梅若座が観世座に併合されたように、吸収か消滅の道をたどった。

［増田正造　2018年7月20日］

観阿弥と世阿弥

結崎座を組織した観阿弥(かんあみ)と、その長男の世阿弥父子の天才が、日本の文化に新たに演劇というジャンルを打ち立てる。観阿弥の功績は、物真似本位、強さの主張の大和猿楽に、田楽(でんがく)や近江猿楽の歌舞の要素をアレンジし、幽玄（優雅）な美を中心に置いたこと、またメロディ主流だった大和猿楽の音楽に、リズム本位の曲舞(くせまい)の技法を導入したこと、大衆の興味を引く生き生きとした能を書いたことにある。この新しい芸能の京都進出を、1374年（文中3・応安7）に将軍足利義満(あしかがよしみつ)が見たことが、能楽紀元元年となった。将軍の後援と父子の努力は、能の芸術性を飛躍的に高めた。とくに当時の最高の文化人である二条良基(にじょうよしもと)らの庇護(ひご)と影響のもとに、世阿弥は大きく育ち、近江猿楽の名手犬王道阿弥(いぬおうどうあみ)（？―1413）の唯美主義を吸収し、演劇性本位の大和猿楽の基盤のうえに、幽玄の情緒を中心とする詩劇としての能と、その理論を確立する。世阿弥の功績は、今日「夢幻能(むげんのう)」とよばれる抜群の演劇発想の完成と、数々の名曲の創作、そして、二十数編に及ぶ『風姿花伝(ふうしかでん)』『花鏡(かきょう)』ほかの演劇理論を残したことにある。世阿弥の後半生は悲劇的であったが、彼の方向づけは江戸時代に洗練され、能は現代に及ぶ不朽の生命を得た。世阿弥の甥(おい)の音阿弥(おんあみ)も名手で、能は室町幕府の正式の芸能「式楽(しきがく)」として扱われるようになる。

［増田正造　2018年7月20日］

室町後期から安土桃山時代

近江猿楽には犬王があり、幽玄至高の芸をうたわれたが、後継者がなく、大和猿楽には、世阿弥の娘婿の金春禅竹(ぜんちく)、音阿弥の子の観世信光(のぶみつ)らが新しい作品を書き、戦乱の世を能は生き抜いた。豊臣秀吉(とよとみひでよし)は大の能のマニアで、自身金春流を舞うほか、配当米を定めて能を保護した。面や装束の改善なども、桃山時代の技術と富を背景としている。当時は手猿楽(てさるがく)とよばれる素人(しろうと)の演能集団が流行し、本願寺も坊主能が盛んであったが、事務総長にあたる下間少進(しもつましょうしん)（1551―1616）は素人ながら抜群の名手で、多くの演能の記録を残している。『アダムとイブ』『ノアの箱舟』など切支丹(きりしたん)能とよばれる、布教の手段としての能の利用もあったと伝える。

［増田正造　2018年7月20日］

江戸時代

徳川家康(とくがわいえやす)は幼少から観世流の能に親しんだが、3代将軍家光(いえみつ)の時代に大和猿楽の四座は徳川幕府の直属の芸能となり、喜多(きた)流が新たに認められて、四座一流(よざいちりゅう)と称された。能は新作をやめて古典芸能となり、世襲による家元制度に管轄され、シテ方・ワキ方など分業制度が確立する。レパートリーも固定化し、曲目は「書上(かきあげ)」として幕府に登録された。能の詞章や演出に合理化を試みた観世元章(もとあきら)の明和(めいわ)（1764～1772）の改革もあったが、江戸時代は武士道的な精神性と、技法の錬磨に努力が傾けられ、謡の音階やリズムの法則、演出様式がほぼ固定するのもこの時代である。5代将軍綱吉などは熱狂的に能を演じ、各大名も能役者を抱え、熊本藩の桜間(さくらま)、友枝家、広島藩の粟谷(あわや)家など、明治以降の能楽界に多くの名手を生んだことからも、その水準の高さがわかる。また金沢の加賀宝生もいまに伝統を伝える。町人の間にも謡が大流行し、テキストである謡本の刊行は実に目覚ましく、寺子屋の教科書にまで用いられた。一方、興福寺の薪能(たきぎのう)、春日若宮(かすがわかみや)おん祭などの神事能の伝統は受け継がれ、また幕府の儀礼的な催しはもちろん、将軍就任の祝能には町人が無礼講で江戸本丸に招かれる町入(まちいり)能や、幕府の許可を得て催す興行の大掛りな勧進能、皇居や本願寺の儀式能もあった。また農民の継承する黒川能を酒井藩が保護するなどの姿もみられた。

［増田正造　2018年7月20日］

明治以後

明治維新による徳川幕府の崩壊は能に致命的な打撃を与えた。しかし、能の人たちの努力と、外国のオペラやバレエのような芸術を日本にもと考え始めた新興貴族、また皇室の能の愛好もあって、能は再生する。明治三名人とよばれる16世宝生九郎、初世梅若実、桜間伴馬(ばんま)、またその後継者に名人が輩出し、大正から昭和の第二次世界大戦にかけて芸術上の黄金時代を築いた。シテ方では、観世流の初世梅若万三郎・2世梅若実兄弟、観世華雪(かせつ)、橋岡久太郎、観世左近、宝生流の松本長(まつもとながし)、野口兼資(のぐちかねすけ)、金春流の桜間弓川(きゅうせん)、金剛流の金剛右京(うきょう)、初世金剛巌(いわお)、喜多流の喜多六平太、ワキ方に宝生新(しん)、囃子(はやし)方に川崎九淵(かわさききゅうえん)、幸祥光(こうよしみつ)ら、狂言では3世茂山忠三郎(しげやまちゅうざぶろう)（1895―1959）、善竹弥五郎(ぜんちくやごろう)、3世山本東次郎、2世・3世茂山千作、6世野村万蔵らが活躍した。各流儀は能楽堂をもって定期能を催し、細川、井伊、松平などの旧大名も能舞台を建設した。

［増田正造　2018年7月20日］

第二次世界大戦後

戦争でほとんどの能楽堂、かなりの数の後継者を失ったが、やがて復興し、前記の名人たちが世を去ったあとに大きなブームが起こり、催しの盛んなことでは世阿弥以来最大の隆盛をみている。戦後の新たな傾向は、1954年（昭和29）以降海外能が年中行事となり、むしろ前衛演劇として高い評価を得ていること、女流能楽師が公認（1948）されたこと、薪能を称する野外能が全国に広まり、120か所以上の定着をみていること、国立劇場能楽堂の発足（1983）などがあげられる。役や流儀による後継者のアンバランスや、伝承方法の問題、サラリーマン化していく役者の意識など、問題は多いが、能が幅広い世代の支持を得、新しく花開いた時代と評価することもできる。英語の能がつくられ、外国人の演技者の登場なども見逃せない現象である。

　1955年から重要無形文化財の総合認定と各個認定（人間国宝）の制度が発足し、能楽は1957年に総合認定を受けた。各個認定とされたのは2017年（平成29）時点で、シテ方に故喜多六平太、故近藤乾三(けんぞう)、故後藤得三、故桜間道雄、故豊嶋弥左衛門(てしまやざえもん)、故松本恵雄(しげお)（1915―2003）、故粟谷菊生(あわやきくお)（1922―2006）、故8世観世銕之丞(てつのじょう)、故高橋進、故片山幽雪（片山九郎右衛門、1930―2015）、故三川泉(みかわいずみ)（1922―2016）、友枝昭世(ともえだあきよ)（1940―　）、2世梅若玄祥（1948―　）、故野村四郎（野村幻雪(げんせつ)、1936―2021）、大槻文蔵(おおつきぶんぞう)（1942―　）、ワキ方に故松本謙三(けんぞう)、故宝生弥一、故森茂好（1916―1991）、故宝生閑(かん)（1934―2016）、囃子方に故川崎九淵、故幸祥光、故亀井俊雄(としお)、故柿本豊次(かきもととよじ)、故安福春雄、故藤田大五郎、故幸宣佳(のぶよし)、故鵜沢寿(ひさし)（1908―1997）、故瀬尾乃武(のりたけ)（1899―1997）、故22世金春惣右衛門(そうえもん)（1924―2014）、故安福建雄（1938―2017）、故曽和博朗(そわひろし)（1925―2015）、亀井忠雄（1941―　）、故北村治(おさむ)（1936―2012）、故一噌仙幸(いっそうひさゆき)（1940―2018）、大倉源次郎（1957―　）、三島元太郎（1936―　）、狂言方に故善竹弥五郎、故6世野村万蔵、故3世茂山千作、故9世三宅藤九郎(とうくろう)、故12世茂山千五郎（4世千作）、7世野村万蔵（萬(まん)）、2世野村万作（1931―　）、4世山本東次郎（1937―　）である。

［増田正造　2018年7月20日］

能の制度

日本の歴史のなかでの芸能者の位置はつねに低く、アウトローの扱いを受けてきた。世阿弥(ぜあみ)が足利義満(あしかがよしみつ)に愛され、祭り見物に盃(さかずき)のやりとりをしているのを、あのような乞食(こじき)同然の者と将軍たる者がと、ある貴族が憤激を記している。江戸時代には能は幕府の式楽として、士分の待遇を受けるようになり、たとえば観世大夫(かんぜだゆう)は禄高(ろくだか)256石を支給されるが、実際は大名のような生活であったという。明治以降も能役者の気位は高く、歌舞伎(かぶき)役者に芸を教えたということがきっかけで廃絶した狂言の流儀まであり、第二次世界大戦中も芸能者の鑑札を拒否して警視庁と争ったほどである。戦後も、他の演劇人との共演をかたくなに拒む体質が強かったが、武智鉄二(たけちてつじ)の新しい演劇運動の洗礼などを経て、こうした固さも薄れ、映画からテレビ・コマーシャル出演まで自由となったのは、時代の流れであろう。

　能役者（能楽師）は分業であり、シテ方と三役（ワキ方、4部門の囃子(はやし)方、狂言方）の7専門に分かれる。他の役にかわること、兼業することはなく、同一役でも他流と同一舞台で共演することもなかったが、この禁は緩められる傾向にある。江戸時代は座付きの専属制であったが、明治以降の三役は自由契約制度でシテ方の主催する舞台を勤める。流儀は原則として世襲の家元制度によって統括されている。三役にも家元があるが、シテ方の家元制度は強固で、演出権、演出・詞章の改定権、演能権、免状発行権、資格の認定などの人事権、破門などの制裁権、謡本の発行権と使用の強制権など、幅広い権限をもつ。邦楽の名取(なとり)制度のようなシステムもないかわりに、新しい流儀をたてることは不可能に近い。江戸初期に観世座に併合された梅若家が、一流樹立を目ざして大正から第二次世界大戦後にかけて争い、GHQまで介入したが、結局観世流に復帰している。家元制度はいろいろ批判され、一方、能面や装束を法人所有化するなどの民主化の傾向もみられるが、まだこれにかわり、あるいは並立する組織はできていない。

［増田正造　2018年7月20日］

シテ方

芸系の似る観世流と宝生(ほうしょう)流を「上掛(かみがか)り」、金春(こんぱる)流、金剛(こんごう)流、喜多(きた)流を「下掛(しもがか)り」という。五流はそれぞれのレパートリーを伝え、同一曲目でも脚本・役柄・演出に異同がある。シテは能の中心で、老若男女から、鬼や神、亡霊などのあらゆる役に扮(ふん)し、能面を用いる特権をもつ。6人から12人構成の斉唱団である地謡(じうたい)もシテ方から出る（ただし間(あい)狂言の地謡の必要な場合は狂言方の分担）。シテに従属する役はツレとよび、なかには両シテとして扱われる『小袖曽我(こそでそが)』『蝉丸(せみまる)』などの例もある。大ぜいの同装のツレを立衆(たちしゅう)とよび、位の軽いツレをトモという。子方(こかた)（子役）は原則としてシテ方から出る。各役はそれぞれの後見(こうけん)を出すが、とくにシテ方の後見は重要で、舞台監督の機能をもち、シテが舞台で倒れるなどの事故があるときは、その能を舞い継ぐ責任をもつ。

［増田正造　2018年7月20日］

ワキ方

室町末期からシテ方から独立し専門職となった。シテ方とは別の脚本を伝える流儀もある。詩的な存在であるシテに対し、ワキはつねに現実の男性にのみ扮し、能面を用いず、舞を舞わない。曲によってワキヅレを伴うこともある。現在、福王流、高安(たかやす)流、下掛宝生流があるが、もっとも後継者難に直面する役柄である。

［増田正造　2018年7月20日］

囃子方

笛方、小鼓方、大鼓方、太鼓方の四専門で、それぞれに流儀がある。太鼓方は曲目によっては参加しない。囃子方も各流儀の譜を伝え、その組合せによって演奏される。なお、囃子方はいわゆる伴奏の役ではなく、それぞれがシテと一対一で渡り合う重要な役である。狂言に参加する場合もある。

［増田正造　2018年7月20日］

狂言方

流儀ばかりでなく家によっても脚本を異にすることが現在は多い。独立した狂言を演ずると同時に、『翁(おきな)』の三番叟(さんばそう)、風流(ふりゅう)を担当し、また間(あい)狂言として能に参加する。間狂言には、場つなぎのナレーターとして登場する場合、能の進行に直接かかわる場合、別の脚本が挿入される場合などがある。

［増田正造　2018年7月20日］

能の作品

脚本が伝えられているものは2000種を超えるが、各流儀が正式のレパートリーとしている現行曲は、五流あわせて260余である。五流ともにある能、一つの流儀だけが伝えるものなどさまざまである。曲名も表記も流儀で異なることもある。田楽(でんがく)系や近江猿楽(おうみさるがく)系の古曲もあるが、観阿弥(かんあみ)から5世代、約200年間にわたって創作された。作者の確かな作品は半数ほどだが、ほとんどが能役者自身によって書かれたことは注目すべきである。これは、能が一種のミュージカルとして、作詞と作曲と作舞が緊密に同時進行する必要があったからである。世阿弥(ぜあみ)は作能のためには歌道を学べと指摘している。

［増田正造　2018年7月20日］

作品と作者

世阿弥は「本説(ほんぜつ)正しき能」を第一条件として力説した。古典や歴史に取材した能であり、『古事記』から『曽我(そが)物語』までの幅広い先行文芸に題材を求めている。これは和歌における「本歌取(どり)」の技巧のごとく、観客の知識を刺激して相乗効果をねらう意図である。謡曲の文体は、論理的展開よりも、耳に訴える美感、連歌(れんが)のようなイメージの連鎖反応にねらいがあり、独特の詩劇を完成している。

　観阿弥は創成期の息吹に満ちたドラマチックな能を書いた。『松風』『卒都婆小町(そとばこまち)』『通(かよい)小町』『自然居士(じねんこじ)』など。会話を書いて比類ない作家であった。自作の能をもつことが他の座に勝つ要因と説いた世阿弥は、情念を昇華して、緊密で優雅な能をつくり、回想形式による夢幻能(むげんのう)を完成した。『高砂(たかさご)』『老松(おいまつ)』『清経(きよつね)』『実盛(さねもり)』『井筒(いづつ)』『檜垣(ひがき)』『班女(はんじょ)』『砧(きぬた)』『恋重荷(こいのおもに)』『鵺(ぬえ)』『融(とおる)』ほか。長男の観世元雅(もとまさ)はなぜか夢幻能をつくらず、若死にする運命が投影しているかのような暗い主題の近代劇風な、鋭い能を残した。『隅田川』『歌占(うたうら)』『弱法師(よろぼし)』『盛久(もりひさ)』。世阿弥の後輩の世代らしい宮増(みやます)は、『夜討曽我(ようちそが)』『摂待(せったい)』『鞍馬天狗(くらまてんぐ)』ほか別系統の能をつくった。世阿弥の娘婿の金春禅竹(ぜんちく)は、世阿弥の夢幻能の手法をさらに進め、『定家(ていか)』『楊貴妃(ようきひ)』『芭蕉(ばしょう)』『雨月(うげつ)』など独自の詩境を示す。世阿弥の甥(おい)の子の観世信光(のぶみつ)は能に新風を加え、後世の歌舞伎(かぶき)がそのまま継承するようなショー的な能を開拓した。『鐘巻道成寺(どうじょうじ)』『紅葉狩(もみじがり)』『船弁慶(ふなべんけい)』ほか。『嵐山(あらしやま)』『一角(いっかく)仙人』の禅竹の孫金春禅鳳(ぜんぽう)、『大社(おおやしろ)』『正尊(しょうぞん)』の信光の子の観世長俊(ながとし)の世代で、能の創作は事実上終了する。豊臣秀吉が自分をシテに書かせて自演した『明智討(あけちうち)』ほかの「太閤能」は芸術作品とはいいがたく、江戸時代の能は賀茂真淵(かもまぶち)らによる『梅』が観世流に登録された唯一の例である。江戸時代には『砧』『恋重荷』などの名作が能としては上演されなかったらしい。昭和50年代後半からは埋もれた曲の復原運動が盛んで、『笠卒都婆(かさそとうば)（重衡(しげひら)）』『雲林院(うんりんいん)（古作）』『大般若(だいはんにゃ)』『治親(はるちか)』『丹波物狂』ほかの成果がみられる。

［増田正造　2018年7月20日］

新作能

明治以降の能を新作能とよぶ。高浜虚子(たかはまきょし)の『鉄門』『奥の細道』をはじめ、土岐善麿(ときぜんまろ)の作品が主流を占める。『夢殿(ゆめどの)』『青衣女人(しょうえのにょにん)』『使徒パウロ』『実朝(さねとも)』『秀衡(ひでひら)』『鶴』ほか。第二次世界大戦後は、武智鉄二演出による口語能『智恵子(ちえこ)抄』などの試みもあり、能にヒントを得たイェーツの『鷹(たか)の井戸』は、横道萬里雄(よこみちまりお)（1916―2012）の『鷹姫』となり、またリチャード・エマートRichard Emmert（1949―　）らによって原文のまま能として上演された。英語能も『セント・フランシス』『ハムレット』『漂炎』など、新しい展開をみせている。

［増田正造　2018年7月20日］

作品構成と種類

能には『猩々(しょうじょう)』のような一場構成の単式能から、20余に舞台面の変化する『烏帽子折(えぼしおり)』の例まであるが、シテが一度中入りする（前シテと後シテ）複式能と、中入りしない単式能の2種に限られる。これは、引き幕のない、また装置や背景を用いない能が、せりふの設定だけで場面変換が可能なことも理由であり、また能が情念の純粋化を目ざし、複雑なドラマ展開を目的としない演劇であることによる。

　能には特定の構成単位があり、その組合せには一種の法則がある。これは類型に陥る弊もあるが、歌舞劇としての様式、音楽的統一を優先させるための方法である。次第(しだい)、上哥(あげうた)、下哥(さげうた)、クリ、サシ、クセ、キリ、一セイ、名ノリ、語リなど、ほぼ50種。この謡の単位に、これも50種ほどの次第、一セイ、序ノ舞、カケリなど登場や舞の囃子の単位を総称して「小段(しょうだん)」という呼び方もされる。『井筒』を例にすると、次のような構成となる。

〈前段〉（名ノリ笛）―名ノリ―サシ―哥―（次第）―次第―サシ―下哥―上哥―問答―上哥―クリ―サシ―クセ―ロンギ―中入地
〈後段〉上哥―（一セイ）―サシ―一セイ―（序ノ舞）―ワカ―ノリ地―哥
たとえば『野宮(ののみや)』と比較すると、ほぼ同じ構造で書かれながら、まったく違う女性像を描き分けている。優れた曲は様式性を利用しつつ、曲の個性を確立している。

　能はいちおう「夢幻能」と「現在能」に大別される。夢幻能はシテ独演主義の能ともいえ、仕方話と回想形式によって映画のナラタージュ的手法が駆使される。死後の時点から生の時間を眺めるという発想は、演劇を時間と空間の束縛から解き放つ前衛的な方法であった。『井筒』の女は永遠の慕情を造形し、『清経』は平家をめぐる運命の全容を眺め、『野宮』の六条御息所(ろくじょうのみやすどころ)は死の濾過(ろか)を経て光源氏への愛を訴える。また神や鬼を登場させ、それに一つの情念を凝縮させることに成功した。『自然居士』『安宅』『隅田川』などの現在能は、現実の時間と空間のなかでドラマが進行する能である。現在能は問題がないが、夢のなかにある人物なり異次元の存在が登場して物語るという夢幻能の説明も、『葵上(あおいのうえ)』の生霊はどうなのか、『高砂』の神の祝福は夢のなかであったのか、『紅葉狩』『鞍馬天狗』の類はどうするかなどと、現代の概念で律するには無理が多い。また、人間を描いた能を「劇能」、スペクタクル風のショー的な作品を「風流(ふりゅう)能」とよぶ人もある。なお、複式能には、前段が現在能で、後段が夢幻能風となる『砧』『藤戸(ふじと)』の類があり、『藤戸』『船弁慶(ふなべんけい)』のように前シテと後シテが別人格の能もあるが、同一役者が演ずるのがたてまえである。

［増田正造　2018年7月20日］

作品の分類

世阿弥は『風姿花伝』で、能の役柄を、女、老人、直面(ひためん)、物狂い、法師、修羅(しゅら)、神、鬼、唐(から)事と九つに分類しているが、やがてそれは「三体」に集約される。閑寂と品位の「老体」、情緒と幽玄の「女体(にょたい)」、激しさと動きの「軍体」である。現在では舞う舞の種類によって、序ノ舞物、カケリ物という分類もあるが、「神(しん)、男(なん)、女(にょ)、狂(きょう)、鬼(き)」と俗称される五番立ての分類が普遍化している。江戸時代の上演方式によるとも、謡本の五番綴(と)じによるともいわれる。『翁』はまったく別系列の儀式能で、1日の最初に演じられ、どこにも分類されない。翁、脇能(わきのう)、修羅能(しゅらのう)、鬘(かずら)物という上演順位はかなり昔から決まっていたようで、その後に何番も演じて、最後に祝言能でめでたく終わることになっていた。1日に17番上演の桃山時代の記録もある。

(1)初番目物（脇能物）　『高砂』『老松』『賀茂(かも)』『白髭(しらひげ)』『西王母(せいおうぼ)』など38番。神霊の祝福の能である。

(2)二番目物（修羅物）　『清経』『敦盛(あつもり)』『八島(やしま)』『頼政(よりまさ)』『巴(ともえ)』など16番。修羅道に落ちた武人の霊が救いを求めて現れる能で、そのほとんどが敗戦の苦を扱い、またロマン的な色彩が濃い。

(3)三番目物（鬘物）　『井筒』『野宮』『定家』『松風』『杜若(かきつばた)』『熊野(ゆや)』『大原御幸(おはらごこう)』など39番。女性をシテとし、能の理想とする幽玄味のもっとも濃いもので、能のなかで最高に位置する。『関寺小町』『檜垣』『姨捨(おばすて)』の老女物は、至高の能とされる。

(4)四番目物（雑能物）　他の曲籍に含まれぬすべての能を一括する。鬘物としても扱われる『西行(さいぎょう)桜』『雲林院』など4番。『雨月』『三輪』など脇能に近い曲柄8番。『班女』『三井寺(みいでら)』『隅田川』『弱法師』などの物狂い能25番。『花月(かげつ)』『東岸居士』『自然居士』の美少年の能。『邯鄲(かんたん)』『枕慈童(まくらじどう)』などの中国種の能7番。『通小町』『善知鳥(うとう)』などの地獄の能8番。『葵上』『道成寺』『綾鼓(あやのつづみ)』など怨霊(おんりょう)の能8番。人情味の濃い『俊寛』『鳥追舟(とりおいぶね)』など9番。『安宅』『夜討曽我』など直面の武士の能20番。ドラマチックで人気のある曲柄である。

(5)五番目物（切能(きりのう)）　フィナーレ用の豪快あるいは爽快(そうかい)な能の一群。『野守』『鵺』『船弁慶』『黒塚』『鞍馬天狗』『融』『当麻(たえま)』『石橋(しゃっきょう)』『猩々』など51番。

　この能の曲目の籍には流動性もあり、略脇能、略三番目物という扱いで番組編成の融通がつけられている。現在では五番立ての演能形態はほとんどまれで、1日1～3番が常態となっている。

［増田正造　2018年7月20日］

能の影響

能の創成期には、歌舞伎の世界とごく近いドラマチックな曲がたくさん上演されていたが、やがて夢幻能が首位を占めるとともに能の世界から淘汰(とうた)され、その劇的傾向はそのまま浄瑠璃(じょうるり)や歌舞伎へ移行されたとされる。能をそのまま歌舞伎化した『勧進帳(かんじんちょう)』『紅葉狩』『船弁慶』『土蜘(つちぐも)』などの「松羽目物(まつばめもの)」は、幕末から昭和に及ぶ傾向だが、能の『翁・三番叟(さんばそう)』『道成寺』『石橋』『松風』『山姥(やまんば)』などは近世以降の舞踊・邦楽へ多くの流れを生んだ。文芸では、『閑吟集(かんぎんしゅう)』には多くの能の詞章、狂言の歌謡が載せられ、江戸時代の謡曲の流行は、一種の古典ダイジェストとしての役割を果たし、俳諧(はいかい)・川柳(せんりゅう)や、仮名草子(かなぞうし)・読本(よみほん)・黄表紙(きびょうし)の類に題材を提供している。松尾芭蕉は、謡曲は俳諧の『源氏物語』、つまり原典といっている。近松門左衛門や井原西鶴(いはらさいかく)の文学も、謡本の文句を多く利用している。泉鏡花(いずみきょうか)、郡虎彦(こおりとらひこ)、野上弥生子(のがみやえこ)、円地文子(えんちふみこ)、杉本苑子(すぎもとそのこ)、立原正秋(たちはらまさあき)、山崎正和(やまざきまさかず)らに能に取材した作品があり、三島由紀夫の『近代能楽集』は西欧でも上演されている。アイルランドのイェーツは能にヒントを得た『鷹の井戸』を書いたが、逆輸入され新作能ともなった。また現代音楽、電子音楽にも影響を与えつつある。

［増田正造　2018年7月20日］

能の上演

演出

世阿弥(ぜあみ)は多くの秘伝書を残し、能の演出を説いた。現代に至る演出の大綱は世阿弥によって指示されているといってよい。創成期の能が観客の意表をつく珍しさが「花」の理論によって説かれるように、当然流動的、即興的な要素が多かったと考えられる。実際の武具や馬を用いた野外能も行われた時代であった。

　室町末期の伝書である『舞芸六輪』には演出の様式化がみられ、桃山時代の下間少進(しもつましょうしん)の『童舞抄(どうぶしょう)』に今日の原型をみることができる。江戸以降は古典芸能としての道を歩み、今日の上演様式は江戸中期にほとんど完成したとされる。演出の新しいくふうは「小書(こがき)」、つまり特殊演出として流儀に登録され、これも今日固定化している。能は脚本も演技も細部まで様式化しているため、慣習的な上演が可能であり、西欧演劇的な演出の考えが薄い。各出演者がその能の曲目に対してもっている「位(くらい)」の概念、これは文学的な読みから演技、演奏のテンポ、ピッチ、リズムまでを含むだいじなものだが、出演者同士のこの「位」の感覚の総合、あるいはぶつけあいで上演されるのが普通であるが、演出の見直しの風潮も強まっている。

［増田正造　2018年7月20日］

舞・謡・囃子

一曲の能を演ずることを「能を舞う」というように、どんな劇的な内容の曲でも、舞踊的統一に貫かれている。曲舞(くせまい)などの文意に沿った舞の一方に、純粋な器楽演奏による抽象的な舞があり、「序ノ舞」「中(ちゅう)ノ舞」「神舞(かみまい)」「男舞」「早舞」「神楽」「楽(がく)」「羯鼓(かっこ)」「獅子(しし)」「乱(みだれ)」「乱拍子(らんびょうし)」など、シテがどの舞を舞うかが、その曲目の内容と「位」を決めている。ドラマの頂点部分にこの無機的な舞を置くのが能の特徴であり、能が再現写実を目的とする一般演劇とまったく別の方向を目ざした、なによりの証拠である。「舞働(まいばたらき)」「祈リ」「カケリ」など、舞と演技の中間的存在もある。また人物の登場や退場にも、「次第(しだい)」「一セイ」「早笛」「名ノリ笛」「来序(らいじょ)」など、さまざまな囃子の種類がある。

　謡は舌を後方に引き、のどぼとけを押し下げるような、どの邦楽とも違う、独特の発声法である。女性の役に扮(ふん)しても、歌舞伎(かぶき)や中国の京劇の女方のような発声はまったく用いず、男の声のままである。ここにも能の逆説的な主張がある。ツヨ吟は、明治初期に完成したとされる音階と発声で、力強さの表現であり、繊細なヨワ吟は、発生当時からのもので、音階も細かく明確で節扱いも変化に富む。謡は絶対音高の考えをとらず、偶然の要素のなかから、その日の必然の高さを探り出そうとし、世阿弥はこれを「時の調子」とよんでいる。

　能の謡と囃子は、八つのリズムに支配され、8拍子または地拍子という。3通りのリズム型がある。「平(ひら)ノリ（小(こ)ノリ）」が中心で、七五調12音原則の文章を8拍子16音にあてはめ、微妙な、そして多分に即興的な演奏の変化に生命がある。「中(ちゅう)ノリ（修羅ノリ）」は2字を1拍にあてる躍動的な謡。「大(おお)ノリ」は1字1拍のゆったりとしたリズム感をもつ。謡には以上の「拍子ニ合ウ」部分と、8拍子に支配されない「拍子合ワズ」の部分があり、会話などの節のない「コトバ」も、一定の抑揚がある広義の歌である。

　能の楽器は管楽器1に、打楽器3の構成。楽器もリズムをとる演奏と、とらぬ演奏がある。笛は能管(のうかん)ともいい、メロディを吹くというよりも、八つのリズムを吹くのである。「序ノ舞」などの舞では主導権をとるが、謡の部分では、笛は叙情的に吹き添えられるだけで、謡の旋律やリズムにあわせて吹くということはない。革を火であぶって乾燥させる大鼓の鋭い衝撃音と、小鼓の柔らかく微妙な音色とがみごとな対比を聞かせる。太鼓は曲の一部分しか演奏せず、曲目によっては参加しない。強さと華やかさを添えるが、異次元の存在を舞台に引き出す機能をもつ楽器と考えられる。したがって神の脇能(わきのう)物と、鬼の切能(きりのう)には、太鼓がかならず参加する。打楽器は舞の演奏はもちろん、謡のリズム、緩急を支配する。ヤ、ハ、ヨイ、イヤーなどという掛け声は重要で、間を計り、曲の雰囲気を出すだけでなく、指揮者なしに複雑を極める演奏を可能とするのは、お互いの連絡と指示をつかさどる掛け声の機能にある。能の本質を世阿弥が「舞歌二道」と規定したのは、舞踊的リズムと音楽的リズムの融合と拮抗(きっこう)、つまりミュージカル的演劇として能を定めていることである。

［増田正造　2018年7月20日］

舞台と装置

能の舞台は、世阿弥時代にはまだ様式が決まらず、真四角な舞台に橋懸(はしがか)りが真後ろについた形などもあり、3000人ほどの観客まで擁したらしい。今日みる能舞台の様式の原点は、桃山時代の西本願寺の北舞台にみることができる。能楽堂という屋内に屋根のある能舞台が入った形は、明治以降のことである。観客席に突き出た真四角の空間の舞台は、額縁舞台の他の演劇とはまた異なる立体的な演技を要求する。「動く彫刻」といわれるように、あらゆる視点からの鑑賞に堪えねばならない。左右よりもむしろ前後の動きが重視され、登場人物の緊密な位置の占め方が重要となる。農村の民家にしつらえた舞台で舞う黒川能のような室内の演能から、100人から600人程度の能楽堂、野外の舞台、1万人を集める野外能、あるいはステージ、またアテネのコロシアムまで、あらゆる空間で能の上演が可能なことは、注目に値する。

　背景も舞台装置も用いず、役者の動作と音楽ですべてを表現し、観客の幻想にゆだねるのが能の理念だが、「作り物」とよぶ道具を、最小限舞台に出すことがある。山や樹木や、鳥居、舟など、極端に簡素なデザインが特徴であり、竹を主材とする。扇（中啓）はかならず用いられるといってよいほど重要で、ほかに笠(かさ)や数珠(じゅず)、刀などの小道具類も用いられる。

［増田正造　2018年7月20日］

面と装束

能面は仮装の手段ではなく、能の理念、演出の核といってよい。能役者の心のよりどころとして、神聖な扱いを受けている。メンといわず「オモテ」とよぶように、文字どおり能の表現の「表」なのである。ギリシア劇や、舞楽(ぶがく)、伎楽(ぎがく)などの仮面に比べ、浅く、顔を覆うに足るだけの小型にできており、感情表現のための微妙なくふうが凝らされている。「カブル」とはいわず「オモテをカケル」という。能面のなかに演者の精神のすべてを込めるのである。その能の演出が選ばれた能面によって決定されるように、能の演技も、摺(す)り足の歩行も、装束のデザインも、みな能面によって導かれ、規制されている。装束は他の演劇の舞台衣装に比べ、直線的で単純化されており、堅い絹の織物は能面と調和する。体全体で感情表現をする能の演技が、幾何学的に抽象化されているのも、能面の使用や装束の洗練化と別個に考えることはできない。なお、能に登場する素顔の役は「直面(ひためん)」とよび、自分の顔を能面として扱い、顔面表情をつくろったり、メーキャップすることはまったくない。

［増田正造　2018年7月20日］

演技

基本は「構エ」にある。ただ重心を落とすのではなく、腰に弾力を撓(た)めあらゆる方向に気合いを発して立つ存在感がだいじである。体の一点の軌跡が舞台の床とつねに平行であろうとする能は、摺り足による「運ビ」の美と、序破急(じょはきゅう)のリズム感を表現の基礎としている。手首だけの演技はなく、かならず肘(ひじ)と肩を伴った大きな円運動、直線運動である。能は踊るといわず「舞う」のである。動作単元である「型」は細かいものを含めても250種程度。泣く演技である「シオリ」のような例もあるが、演劇的表現の型も、純粋な舞踊的な型も重なり合う部分が多く、同じ型でも場合に応じて種々の表現効果をあげうる。舞台装置をもたぬ能舞台では、叙景の型も重要である。能は歌舞伎の「見得(みえ)」のような停止による強調の演技は用いない。能の型はつねに流れ、連鎖反応をおこしながらそのリズムが大きなテーマにつながっていく。シテがじっとうずくまっている動かぬ型も、静止ではなく、最高回転時のこまが動かずに見えるように、心の強い働きで支えられている。世阿弥のいう「物真似(ものまね)」も、単なる写実ではなく、高度の写意、対象の実態そのものの凝縮された表現である。極度に抑制され、簡素な造形から、観客は無限のイメージを引き出す。それだけに能の演技者には、技術の確かさと同時に、気迫と心の働きによる表現がなにより要求される。

［増田正造　2018年7月20日］

能と狂言

能と狂言は二つの演劇であると同時に、二つで一つの演劇でもある。同じ舞台に共存し、交互に上演され、また協力しながらお互いの特徴を際だててきた。ミュージカルとせりふ劇の違いがあるが、型と舞と謡を基礎に置く点で、演技の共通性をもつ。独立した狂言と同時に、能のなかの一役として参加する場合を「間(あい)狂言」とよぶ。『翁(おきな)』の三番叟(さんばそう)（流儀によっては千歳(せんざい)も）は狂言方の受け持ちであり、歴史的にいえば狂言が日本の演劇の母胎であった。長く狂言そして狂言方は能の下に位置されてきたが、第二次世界大戦後の新しい演劇活動においては、能と狂言は同等の比重でその特色を生かし、またその価値が正当に評価されるようになった。

［増田正造　2018年7月20日］

鑑賞と催し

アマチュアとして謡を稽古(けいこ)している人々によって観客の多くが占められていた時代、能が特殊な存在としてみられていた時代は終わり、演劇としての広い視野から世代を超えた支持を得ている。能は約束の芸術とか、予備知識の必要などといったこともいわれているが、実はそうではなく、象徴芸術だけに、各自のセンスとイメージの広がりがだいじである。古典芸能とか文化財という視点でなく、前衛芸術として対したほうが、能の本質に近づきやすい。能楽堂の各流儀や組織の会も数多く催され、新聞社や観客側の主催する会もある。流儀関係の会は稽古会という性格が残り、国立能楽堂では普及公演と、記録のための稀曲(ききょく)上演の二つの面がある。ただ能の催しは1日限りというところに難点がある。伝統的な催しでは、5月12、13日の奈良興福寺薪能(たきぎのう)、12月17、18日の奈良春日若宮おん祭の芝の上の能、5月21日、親鸞(しんらん)降誕会の京都西本願寺の能、4月16～18日、海に建つ能舞台の厳島(いつくしま)神社桃花(とうか)祭がある。また山形県の農民の伝える黒川能の王祇(おうぎ)祭が2月1、2日、五流の能とは別の伝承と古風を伝える。また薪能を称する野外能は急速に増加し、全国各地に定着したばかりか、海外でも演じられている。

［増田正造　2018年7月20日］

組織と研究機関

能楽師のすべての玄人(くろうと)を包括する組織に「能楽協会」があり、2013年（平成25）時点の会員数は1285名。「日本能楽会」は、国によって重要無形文化財の総合認定を受けた人々の組織で、2011年時点で481名の日本能楽会会員がいる。専門研究機関には、野上豊一郎(のがみとよいちろう)記念法政大学能楽研究所が古文書の収集で比類なく、武蔵野(むさしの)大学能楽資料センターは、現代の舞台の記録に主眼を置いている。また丹波篠山(たんばささやま)市には能楽資料館がある。歌舞伎などの国立劇場には20年近く遅れたが、国立劇場能楽堂も1983年に発足し、認知普及のための公演、資料の収集、後継者の養成の一つの拠点となる。

［増田正造］

無形文化遺産の登録

2008年「能楽」としてユネスコ（国連教育科学文化機関）の無形文化遺産に登録された。

［編集部　2018年7月20日］

『佐成謙太郎著『謡曲大観』全7巻（1931・明治書院）』▽『野上豊一郎著『謡曲全集』全6巻（1935～1936・中央公論社）』▽『横道萬里雄・表章校注『日本古典文学大系40・41　謡曲集　上下』（1960、1963・岩波書店）』▽『リチャード・マッキンノン、中村保雄著『日本の伝統2　能』（1967・淡交社）』▽『芸能史研究会編『日本の古典芸能3　能』（1970・平凡社）』▽『野上豊一郎編修、西野春雄・松本雍解題・補注『能楽全書』全7巻（1979～1981・東京創元社）』▽『山崎正和編『日本の名著10　世阿弥』（1983・中央公論社）』▽『伊藤正義校注『新潮日本古典集成　謡曲集　上中下』（1983～1988／新装版・2015・新潮社）』▽『横道萬里雄・小山弘志・表章編『岩波講座　能・狂言』7巻・別巻1（1987～1992・岩波書店）』▽『小山弘志・佐藤喜久雄・佐藤健一郎校注・訳『新編日本古典文学全集58・59　謡曲集1・2』（1997、1998・小学館）』▽『増田正造著『能の表現』（中公新書）』

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謡本

出典　小学館　日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について　情報 | 凡例

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