The placement of the property on the stage determines some of its impact and use. Large properties in the upstage area serve as scenery, double as entrance or exit spots, and focus attention at least temporarily towards the back. Smaller properties placed in the downstage area draw attention forward. Vehicles are often placed either along the bridge, or at center right (wakishō). Because the properties take up stage space, they also affect the choreography by reducing the amount of space for dance movements. Perhaps the most dominating property is the large prayer wheel or revolving stand filled with sutras (rinzō) placed in center stage during the nō Rinzō. At the height of the performance, the actors circle around the property, each revolution signifying a prayer recitation. The chart below summarizes the typical placement and impact of several types of properties. Examples are illustrated and discussed in greater detail under the Role of Stage Properties and property submenus on the site.
| Property type | Typical placement | Impact and use |
| Tomb | Upstage in front of the hand drums: daishōmae | Scenery, exit/ entrance, covered at first, often for the shite to exit into it for a costume change and uncovered during the second act to allow the ghost out. |
| Hut | Upstage in front of the hand drums: daishōmae. Sometimes at stage right center: wakishō | Scenery, exit/ entrance, often has a door. Uncovering a cloth or opening the door for the shite to exit can shift the scene from outdoors to indoors. |
| Palace | Upstage in front of the hand drums: daishōmae. Center left in front of chorus (jimae). Often on a platform. | Use is similar to a hut. |
| Cave, tree-spirit’s abode, bolder, etc | Upstage in front of the hand drums: daishōmae. | Scenery, exit/ entrance, |
| Small prop supporting a symbolic object like an arrow, tree, hei, grasses | Downstage center: shōsaki | Focuses action towards the front. Often acrues imagery. Possible physical interaction with the prop. |
| Gates: torii and fenses | Downstage center: shōsaki or at the stage right center: wakishō | Focuses action towards the front. Often acrues imagery. Possible physical interaction with the prop. |
| Carts | Bridge or center right stage: wakishō. | Usually on stage for one scene. Define the scene and activity. Stand inside when “moving.” |
| Boats | Bridge or center right stage: wakishō, or in front of the chorus: jimae. | Placement defines the area of water versus land. Rower and passengers inside the frame. |
| Small bell, drums, instruments | Downstage, often center, sometimes to stage right: shōsaki, sumi. | Generally on a stand. Ringing the bell or striking the drum forms a highlight moment in a central scene. |
| Dōjōji bell | Hung above Downstage center : daishōmae | Lowered and raised during the performance. Jumps into the bell as the exit for part one; bell raised for entrance to part two, with costume change inside the bell. |
Contributor:
Monica Bethe