All the movements performed on a noh stage, including the entrance and exit of the performers, the way properties are manipulated by the assistants, and all the gestures of the actors and musicians, are set. In the past, performances used to have a greater degree of improvisation, with the shite actor being able to signal to the musicians whether to extend, shorten, or modify dances as they were performed. Currently, actors respect choreographies and do not introduce major changes during performance. However, a certain flexibility in how movements are executed is allowed.
Though noh performance may appear to be simple and static in comparison with other performing arts, it is actually very sophisticated and physically challenging. The minimalism of choreography and of the overall stage setting requires great precision in order for movements to be executed correctly. The movement vocabulary of the actors is restricted, and is generally well known by an audience which is often composed in the major part by amateurs and enthusiasts. When form is so precisely predetermined, any diversion from the model is easily noticed.
Costumes influence the movements, limiting some, enlarging others. Tightly wrapped skirts demand small steps, broad open sleeves enhance the whole arm movements but hide the hands. Weighty crowns require the head to be held steady. The small eyes openings on most masks restrict vision so the actor must “see” with the soles of his feet.
Contributor: Monica Bethe and Diego Pellecchia