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This is a complete [1] list of extant pre-modern Noh plays, their supposed authors, and categorisations. A short English translation of the title is given where one exists. A list of those plays which have a separate article on Wikipedia can be found here. Some plays are given different names by different schools.
Kyogen is generally performed on a Noh stage, as the stage is an important part of the play (the space, the reaction to stamps, the ease of sliding, etc.). It can, however, be performed in any space (particularly by amateur or younger performers), though if possible a Noh-like floor will be installed.
The Kyogen play, 'The Bird-Catcher in Hell', parodies much in the plot of Ukai. [6] Basho described the world of Ukai in his haiku: "How exciting for a while, / The cormorant fishing-boat! / Then depressing". [7]
Noh (能, Nō, derived from the Sino-Japanese word for "skill" or "talent") is a major form of classical Japanese dance-drama that has been performed since the 14th century. . It is the oldest major theater art that is still regularly performed today.
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It has been described as a masterpiece of genzai noh, [1] a type of Noh play in which the story deals with events in the real world. [2] It is also distinguished from the conventional Noh drama, which is noted for its focus on the idealized beauty of yugen, through its use of songs and dances to highlight dramatic tension. [3]
It is one of the few Noh plays where the supporting waki (脇) rather than the normally leading shite (仕手) dominates the action. [8] It is suggested that this can be attributed to the fact that Nobumitsu used to play waki roles when he was an actor. [9] The shite character in this play only makes an appearance at the end and has no dialogue ...
The bibliography of Kimitake Hiraoka, pen name Yukio Mishima, includes novels, novellas, short stories and literary essays, as well as plays that were written not only in a contemporary-style, but also in the style of classical Japanese theatre, particularly in the genres of noh and kabuki. However, although Mishima took themes, titles and ...