The contemporary noh stage has a distinctive architecture. Reflecting its origins as an outdoor structure, the performance areas are covered by a roof. A platform for the chorus (jiutai za) extends to stage left, and another extension to the rear (atoza) allows space for the instrumentalists and stage assistants to be seated and joins a bridgeway (hashigakari) off to stage right that leads backstage via the mirror room (kagami no ma). The audience sits around the stage to the right and front.
In the past, stages like this were erected outdoors on shrine or temple precincts and within castle structures. Quite a few of these remain, some still being used for annual performances. Modern noh stages retain this architecture but place it within a larger theater hall. In some cases, a building was constructed around a preexisting outdoor stage. The aerial view below has labels on the parts of the stage.
- Kagami no ma (mirror room). The dressing room leading onto the stage.
- Agemaku (curtain) A five-color curtain lifted with sticks from the side for major exits and entrances, pulled slightly open at the side for some entrances.
- Hashigakari (bridge) Passageway between the mirror room and the stage proper used for entrances and exits, and also as a side acting space.
- Atoza (rear-stage area) The instrumentalists and stage attendants sit here.
- Honbutai (stage proper) Square area where most of the action takes place.
- Jiutaiza (chorus seat) Six or eight chorus members sit in this extension at stage left.
- Kagami ita (painted pine) The constant backdrop, allegedly representing the yōgō no matsu on the precincts of Kasuga Shrine, Nara.
- Kirido (small side door) Inconspicuous entrances and exits are done through this back door.
- Take (painted bamboo) Considered a part of the kagami ita.
- Shite-bashira (shite pillar) The upstage right pillar supporting the roof. The shite stands here for the opening sections of the majority of noh.
- Fue-bashira (flute pillar) The upstage left pillar. The flute player sits near this pillar.
- Metsuke-bashira (eye-fixing pillar) The downstage right support pillar. Although an inconvenience for the audience, this pillar helps orient the masked performer whose vision is highly restricted.
- Waki-bashira (waki pillar) The downstage left pillar. The waki sits near this pillar for much of the play.
- Kizahashi (stairs) Non-functional today except as a center orientation marker for the masked shite. A remnant from when shrine buildings were used as stages, in the past the stairs were presumably used for entrances, and for members of the audience to present items to the actors.
- Shirasu (sand) or pebbles separate the world of the stage from that of the audience. Alternatively, water (as at Itsukushima Shrine, Hiroshima) or moss (HIgashi Honganji, Kyoto) serves to separate the performance area from the audience.
- San-no-matsu (third pine) The small potted pine in the shirasu area in front of the bridge closest to the curtain.
- Ni-no-matsu (second pine) The middle small potted pine next to the bridge.
- Ichi-no-matsu (first pine) The small potted pine in front of the bridge closest to the stage proper.
- Audience seats.
- Audience seats
Contributor: Monica Bethe and Diego Pellecchia