In nō, large stage properties are known as tsukurimono. These range from slightly under two meters in height (tall enough for an actor to stand inside) to low platforms. Some are highly elaborate, like the large revolving prayer wheel in Rinzō, but the majority are minimal frameworks decorated with an identifying object attached: a hut, a tree, or a cave. Their size and purpose determine where they are placed on the stage. Generally, they may be categorized into four groups: large frames, small frames, platforms, and vehicles.
Large rectangular frames
Frames with a square base of bent bamboo, vertical poles, and upper support provide a core for various properties. Parts are modified to fit the specific piece. Properties large enough for an actor to stand inside can represent huts, grave mounds, caves, and boulders. Attaching small identifying items to the basic frame changes its character: adding a roof transforms the frame into a hut (Ikuta Atsumori). Covering the sides with twigs creates a rustic lodging (Hibariyama). Lacing paper webbing over the front turns the structure into a spider’s lair (Tsuchigumo).
Huts might have a straw roof on top (Higaki, Kagekiyo, Ashikari), while palaces have gabled roofs with green cloth covering the center and red bands laced through the decorative structural edges. Properties representing tombs often have rounded tops. Complementing the text, the tsukurimono lends an extra layer of visual realism. In the play Teika, a vine known as teika kazura grows up the framework and spills over the upper portion. In the play Saigyō zakura, a similarly shaped framework has dangling cherries branches, and the property for Yugyō Yanagi has weeping willow branches streaming down its sides. The identity of the property depends primarily on these extra embellishments, which play a symbolic role that references the narrative.
Large properties, which generally are set in the upstage area, often function as an alternative entrance or exit venue for a character. A character is hidden within a curtained structure typically is heard before being seen. Whether the draped cloth is slowly lowered or swiftly removed reflects the mood and character of the figure revealed. Dynamic variations include a rock that splits open to reveal a malevolent spirit (Sesshōseki) and lifting a fallen bell to reveal a vengeful snake-like spirit (Dōjōji).
Small frames with symbolic decorations, site structures
Small frames often support a symbolic object, such as an arrow (Kamo), or a pine tree (Matsukaze, Hagoromo). These tsukurimono are generally set at downstage center and draw the focus of the action to the front. Imagery accumulates around the property. In Kamo, a shrine priest notices an arrow set beside the river. He asks about it and is told the story of the miraculous conception of the Kamo deity from an arrow that floated down the river. Small structures indicating place are not limited to stands, but include, for instance, the torii shrine gate used in Nonomiya. The overlay of imagery often comes together in a final moment when the shite may have physical contact with the property (Izutsu, Nonomiya).
Platforms
Platforms (ichijō-dai, lit. “one-tatami platform”) are wooden structures covered in red cloth at the top, and blue or green cloth decorated with gold or silver and black patterns at the sides. Platforms create a miniature stage inside the main stage. The size of a tatami mat (about 100 x 190 cm), they can be set almost anywhere on the stage, either individually, in combination. These platforms are used to represent a great variety of objects. If used alone they usually represent a raised place, which could be pavilions in a palace (Raiden), a mountain, or a workshop (Kokaji). Platforms are often used in combination with other objects in order to create more complex properties. Holes in each corner allow for poles or tree branches to be added (Tsurukame, Shakkyō or Tanikō). In addition, other tsukurimono, such as huts can be placed on top of a platform, suggesting their elevated location (Momijigari). In Tsuchigumo, the spider’s lair is placed on a platform enhancing the height and allowing for dramatic spider-like jumps to and from the platform. In Sesshōseki placing the large rock in which the malevolent spirit resides on top of a platform achieves a similar sense of height, size, and formidability.
Vehicles: carriages and boats
Vehicles, such as carriages or boats, are often placed on stage only for a specific scene. In Yuya, when the courtesan makes her way through the streets of the capital, she steps into a covered oxcart that has been brought out for the scene. The elaborate carriage enhances the poetically colorful highlight scene. A similar carriage is used in the kuruma-dashi-no-den variation performance of Nonomiya for the entrance and exit of the shite in the second act, referencing carriage imagery in the text.
Boats are constructed from square bamboo frames with rounded extensions rising to the front and back. This basic boat form is used in Chikubushima, Shunkan, and Funa Benkei. When the type of boat is significant, identifying features are added. The fishing boat in Michimori has a fire basket to attract fish at night. The sailing ship in Tōsen is equipped with mast and sail. Clackers and a drum for chasing birds are loaded on the “bird-chasing” boat in Tori oi-bune. The boat in Kuzu has a cloth covering over a structure similar to that depicted below in the upper part of the left page. In Kuzu an old man and woman (deities in disguise) enter punting down the river. When they meet the emperor trying to escape into the Yoshino mountains, they go ashore and feed him a fish. Later, armed men approach. Quickly the couple turns their boat upside down and hides the emperor (child actor) under the cloth-covered boat. The placement of a boat on stage indicates the presence of water and its boundaries. For instance, in Shunkan, an emissary from the capital bearing pardons for men exiled to “Devil’s Island” anchors his boat on the bridge in front of the first pine. The stage itself is island shore, the bridge ocean.
Contributor: Monica Bethe