Nō theatre halls are called nōgakudō. Dedicated buildings like these did not exist until the Meiji restoration, when, under the influence of European-style theatre halls, what were formerly outside stages were placed indoors, or had a building constructed around them. This new type of structure has modified various aspects of the Edo theater, including seats, backstage and lighting.
In this section
1. Architecture
A typical hall in which the nō stage is hosted is a simple square or rectangular space in which the main stage structure occupies the bottom right of the hall, with the hashigakari (bridge-way) stretching to the left up to the left wall. Since stage sets, flats or machineries are not required, the ceiling and the back walls are boarded. The only direct connections between the stage and the backstage are the age-maku (curtain at the end of the bridge) and the kiri-do (half door at up stage left). This, along with the distinctive architectural features of the nō stage itself, means the nō theatre hall is not well suited for performances other than nō and kyōgen.
The basic stage architecture is the same for every theatre. The square main stage stands approximately 1 meter above the hall floor and juts out into the audience area. Japanese cypress boards run from up to down stage, their slick, clean surface just right for the gliding walk of the actors. A distinguishing feature in each theater is the style of the painted pine tree on the backboards (kagami-ita) that serves as a backdrop for all performances. The area behind the hashigakari also varies from theater to theater, sometimes imitating outdoor architectural elements. Although the size of the main stage varies only slightly, the length of the hashigakari can differ quite a bit, the standard being between 11 and 13 meters. Still, the National Noh Theatre hashigakari is almost 14 meters long, while others are much shorter than 11 meters. In addition, the three small pine trees placed between the pillars along the hashigakari may be of different size and form. Some are in pots, others planted in the pebbles (shirasu) lining the edge of the stage. When the bridge is very short, only two pines are installed.
The audience sits on two sides of the stage, facing pine and facing the chorus. The configuration and size of the audience seats differ in detail, but now-a-days, most theaters have chairs. Some older, smaller theaters still retain the traditional tatami mats and cushions. Sometimes they supply a few chairs either in the open space close to the stage or in the back. Some theaters have a balcony. Seat prices depend on the region (see below).
In modern nōgakudō, fitted with chairs, the seating area is usually inclined toward the stage to facilitate the view. Seats are arranged in three main sectors: front (shōmen) side (waki-shōmen) and corner (naka-shōmen). The first raw is about 2-3 meters from the stage. At the back of the hall some theatres have smaller booths, reminders of the old stages.
Modern nō stages feature light rigs under the stage roof. Additional rigs are fitted against the theatre hall walls. However, usually only two settings are used: bright for before/after and dim but not dark during the performance. Since nō performances are not amplified, nō halls are not fitted with powerful speaker systems. Amplification is usually used only for announcements. However, some performances may be recorded.
Because of the minimal audio and light requirements, there is no audio or light mixer booth in front of the stage. Such equipment might be somewhere backstage. Likewise, theaters are usually only fitted with simple permanent video recording equipment. Today, cameras connected with monitors in the backstage allow the actors to see what is happening on stage. A monitor is installed in the small room behind the kiri-do, allowing stage assistants time when to open and close the sliding door during a performance. In the past this was done by peeping through curtains.
Unlike other traditional theatres, such as opera or bunraku, nōgakudō usually are not fitted with caption equipment. An exception to this is the National Noh Theatre in Tokyo, where small monitors displaying multilingual subtitles are lodged on the back of each seat. Other theatres, such as the Yokohama Nōgakudō, are experimenting with other systems for providing explanations of performances, such as tablets.
2. Types of nōgakudō
Ryūgi-related nō theatre halls
Certain nōgakudō belong to and are managed by the iemoto heads of the five shite schools. Currently they are the Kanze Nogakudō (Ginza, Tokyo), the Hōshō Nōgakudō (Bunkyo, Tokyo), the Kongō Nogakudō (Kyoto), the Kita Nogakudō (Shinagawa, Tokyo). The Komparu school, based in Nara, holds its regular events at the National Nō Theatre in Tokyo and at the Nara Kasuga Kokusai Forum Iraka Nōgaku Hall. These are among the largest nōgakudō, with a capacity of about 400 seats.
Usually nōgakudō are managed directly by shite actors. Waki, Kyōgen or Hayashi performers may own private stages for practice or research purpose, but they do not own halls used for public performances. This reflects the central role of shite groups in the production of a performance, explained in detail later. These kinds of nōgakudō have similar structures to those described above. Subgroups in each schools also own and manage private halls, for example the Otsuki Nōgakudō in Osaka, managed by the Otsuki family, or the Yarai Nogakudo in Tokyo, managed by the Kanze Yoshiyuki family line.
3rd-party (private or state) nōgakudō
Some nōgakudō are owned by local or national administrations, or by companies. Examples are the state-owned National Noh Theater in Tokyo or the Cerulean Tower nōgakudō, owned by the Tokyu Corporation. These theaters can be large or small, and, since they are neither owned nor managed by shite actors, they do not have exclusive connection with any school in particular.
Other venues
Temples, shrines, outdoor temporary stages, theatre halls, banquet halls in hotels, may be equipped with a permanent nō stage, often used for different kinds of performance or ritual.
Venues with temporary stages
Nō is performed on temporary stages erected especially on the occasion of the performance. It is also performed on modern proscenium-arch theatre stages, on which a platform reproducing the surface of the stage and of the hashigakari is laid. Noh can be performed virtually anywhere as long as actors have a smooth surface on which they can slide their feet. An exception to this are performances called shibafu-nō, performed on the lawn, reminiscent of ancient performances.
Family nō stages
Other privately owned nōgakudō include those built as part of the private residences of nō actors. Traditionally this is how stages were built in the past. Even today, the Iemoto of the Kongō school lives in a house attached to the theatre[DP3] . Examples of smaller nōgakudō like these include the Oshima Nōgakudō in Fukuyama (Hiroshima Pref.), owned by the Oshima family, or the Kawamura Nōgakudō in Kyoto, owned by the Kawamura family. These are typically smaller venues, capable of accommodating a lesser number of spectators.
Booking and management of a stage
Privately owned nōgakudō are typically used as primary venues for the regular performances of the groups that own them, be it the iemoto or a subgroup. It is possible for other nō performers to book them. Sometimes, nō stages like these are rented for performances other than nō – from classical Japanese music, to contemporary experimental performances. Educational and dissemination events for schools or other groups are also held at these theatre. Usually, rental prices depend on whether the producer of the event is a member of the Nohgaku Performers’ Association. Prices for members tend to be much lower.
3. Nō theatre locations in Japan
Maps courtesy of the-noh.com
Contributor: Diego Pellecchia