This glossary gives a general overview of terms related to theJapanese theater, performing arts, anddances. A concise description is given for each term; more details are given in their respective articles. The glossary does not include personalia and plays. For rarer terms not found in this glossary, see#Bibliography.

Akobujō

A type ofNoh mask (能面) representing an elderly male character, characterized by its dignified expression and architectural features. Used in plays featuring aristocratic characters or spirits.

Akuba

A role of evil woman (悪婆) insewamono plays.

Angama

A traditional folk dance from the Yaeyama Islands of Okinawa, performed during festivals and celebrations. Features dynamic movements and distinctive local musical accompaniment.

Angura

Underground (アングラ) theater movement that emerged in Japan in the 1960s as an experimental and avant-garde form of theater. It challenged both Western-styleshingeki and traditional Japanese theater forms, often performing in non-traditional spaces.

Aragoto

A rough, masculine style ofkabuki acting (荒事, "rough business") characterized by exaggerated movements, bombastic speeches, and dynamic poses. Often features heroes and warriors with bold red makeup and extravagant costumes. This style was developed in Edo and is especially associated with the Ichikawa family of actors.

Aragotoshi

An actor (荒事師) playing heroes in Aragoto style.

Atari kyōgen

A popular hit play (当り狂言).

Atsuita

A thick, richly woven brocade fabric (厚板) used inkabuki costumes, particularly for male roles. Characterized by its bold patterns incorporating gold and silver thread, it typically features designs of dragons, tigers, and other powerful motifs appropriate for warrior and nobleman characters.

Awa Odori

Japan's largest dance festival (阿波踊り), held annually in Tokushima Prefecture during Obon. Features choreographed groups (ren) performing with traditional instruments including shamisen, taiko drums, and shinobue flutes. The festival originated in 1586's celebration of Tokushima Castle's completion.

Ayahashi

A type ofNoh mask portraying a beautiful young woman with a mysterious, ethereal quality. Used in plays featuring supernatural female characters or spirits.

Bon Odori

Traditional festival dances (盆踊り) performed during Obon to welcome ancestral spirits. Dating back 600 years, these dances vary by region, each area having its own distinctive music and movements. Originally Nenbutsu folk dances, they now encompass various local styles, from Hokkaido's "Sōran Bushi" to Kagoshima's "Ohara Bushi".

Budōgoto

A type ofkabuki role (武道事, "martial arts matter") featuring combat scenes and swordplay, often including the portrayal of wounded warriors. These roles require specialized training in stage combat and the stylized presentation of martial techniques.

Bugaku

Imperial court dance (舞楽) that originated in ancient China and Korea, performed in elaborate costumes to the accompaniment of gagaku court music. It is still performed at the Imperial Palace and major shrines.

Bunraku

Traditional Japanese puppet theater (文楽), founded in Osaka in the beginning of the 17th century. Bunraku uses sophisticated puppets operated by three-person teams in black clothing (kuroko), accompanied by narrative chanting bytayu andshamisen music. Puppets have articulated faces and limbs, with different handlers controlling head/right arm (Omo-zukai), left arm (Hidari-zukai), and legs (Ashi-zukai).^[1]

Bunraku puppet

The puppets used in Bunraku measure 130-150 cm in length and weigh up to 10 kg, constructed with wooden heads (kashira), shoulder boards, trunks, arms, and legs. Puppets often have movable eyes, eyebrows, and mouth, with about 70 traditional head types. Male puppets have feet, while female puppets create movement through kimono manipulation. Smaller heads (tsume) are used for background characters to make principal roles more prominent.^[2]

Butai

SeeNoh stage.

Butoh

An avant-garde performance art that emerged in post-war Japan. Characterized by white-painted performers moving in a slow, controlled fashion, incorporating grotesque imagery and taboo themes. Developed by Tatsumi Hijikata and Kazuo Ohno in the late 1950s.

Chakkirako

A traditional dance from Miura, Kanagawa Prefecture, performed by young women at New Year celebrations. Features the use of wooden clappers (chakki) and celebrates the local fishing culture.

Chindon'ya

Street performers (チンドン屋, also known historically as tōzai'ya 東西屋 or hiromeya 広目屋) who combine music and elaborate costumes to advertise for businesses. Originating in 19th-century Osaka, these musical advertisers evolved from solo performers to small bands, reaching their peak popularity in post-war Japan before declining with the rise of modern advertising methods.

Chorei-beshimi

A category ofNoh mask depicting powerful supernatural beings, characterized by its fierce expression with bared teeth and wrinkled brow.

Chūnori

Aerial stunts inkabuki (宙乗り) where actors are suspended by wires to simulate flight, typically used for supernatural characters. Traditionally beginning at the suppon trap door and ending in upper-level seating areas. A type ofkeren.

Chūshibai

A middle-sizedkabuki theater (中芝居), also known as hamashibai (浜芝居) when located near riverbanks.

Daijin-bashira

Main stage pillars (大臣柱) marking the boundaries of the primary performance space, located between the takemoto platform and kuromisu screen. Originally supported a roof, now removable.

Daikagura

A traditional Japanese performance art (太神楽/大神楽, "great divine music") that evolved from Shinto ritual origins. Originally featuring masked lion dancers with musical accompaniment who performed at shrine festivals to ward off evil spirits, it developed into a complex entertainment form incorporatingjuggling and acrobatic skills.Traditional acts:

• Shishi-mai (lion dance)
• Hanakagomori (bottomless basket juggling)
• Bangasa (parasol spinning)
• Kagomari (ball, bucket and stick juggling)
• Drumsticks juggling

Initially associated with Atsuta and Ise shrines, performers organized into professional groups (kumi) by the 18th century, later expanding their venues to include theaters and entertainment districts.^[3][4]

Daimokutate

A medieval Japanese performance art that combined recitation with mimetic movement. It served as a precursor to later theatrical forms and was often performed by shrine personnel.

Dainichido Bugaku

A ritual dance tradition from Hachimantai, Iwate Prefecture, recognized as an Important Intangible Cultural Property. Combines Buddhist and folk elements in its ceremonies.

Dammari

Silent pantomime scenes inkabuki (だんまり) depicting characters searching in darkness, requiring actors to convincingly portray inability to see while maintaining theatrical visibility.

Dengaku

An ancient form of Japanese rural theater and dance that originated from rice planting songs and ceremonies. It later developed into a more sophisticated theatrical form that influenced the development ofNoh theater.

Dekata

Theater ushers (出方) who served food and sake to clients during Edo-period performances, a practice that ended in the Meiji era.

Dōkegata

Comic actors (道化方).

Ebizori

Stylized backward-arching pose (海老反り, "shrimp-bend") expressing submission to power or intense emotion, particularly notable inonnagata performances.

Eisa

A traditional Okinawan folk dance (エイサー) performed during the Bon festival. Features dynamic drumming, group choreography, and distinctive costumes.

Ende

Distinctive wig style (燕手, "swallow-wings") fortachiyaku roles, featuring extended side pieces resembling swallow wings, typically worn by villainous characters.

Enkiri

Dramatic scenes inkabuki (縁切/愛想づかし) depicting forced separation of lovers, typically accompanied by music and often leading to tragic consequences. Features stylized expressions of hidden emotions and misunderstandings.

Fuebashira

The "flute pillar" (笛柱) on theNoh stage, located at downstage left. Named for its proximity to where the flute player sits during performances.

Fukeoyama

Actors (老女方) specializing in elderly female roles.

Fukeyaku

Actors (老役) who play both male and female elderly characters.

Furyū Noh

A style ofNoh performance (風流能) characterized by elaborate stage action, acrobatics, stage properties, and multiple characters, with less emphasis on plot development.

Futayaku

An actor (二役) who performs multiple roles in the same play.

Gagaku

Traditional Japanese court music (雅楽, "elegant music") that has accompanied ceremonies and rituals since the 7th century. Features orchestral arrangements of wind and string instruments, plus drums, performed in highly structured compositions.

Gakuya

Backstage areas (楽屋) housing actors, stage crews, and support staff. Historically arranged by actors' roles and status.

Geiko

Kyoto's term forgeisha (芸子, "arts child"), professional female entertainers trained in traditional Japanese arts including dance, music, and conversation. Distinguished from the more commonly used term geisha (芸者, "arts person").

Geinyabanashi

Artful tales (芸屋噺) performed inyose theaters, characterized by their sophisticated narrative techniques and artistic presentation. These stories often featured themes of everyday life and human relationships.

Geisha

Traditional female performing artists and entertainers (芸者, "arts person") skilled in classical music, dance, games, and conversation. Operating within strictly regulated entertainment districts (hanamachi), they undergo years of training in traditional arts. In Kyoto, they are known asgeiko (芸子), while apprentices are calledmaiko (舞妓). Their public performances include annual dance events such asMiyako Odori, though they primarily entertain at private gatherings in traditional teahouses (ochaya).

Geki Noh

A style ofNoh performance (劇能) that emphasizes dramatic plot development and narrative action, focusing on storytelling rather than spectacle.

Genroku Kabuki

Pivotal period (元禄歌舞伎, 1688-1704) whenkabuki reached artistic maturity, marked by development ofaragoto andwagoto styles, establishment ofonnagata art, and emergence of professional playwrights.

Genzai Noh

A category ofNoh plays (現在能, "present Noh") featuring human characters with events unfolding in a linear timeline, focusing on realistic situations and contemporary settings.

Geza

A small black room (下座, also called kuromisu) on the left side of thekabuki stage with a slatted window, housing musicians who provide background music and sound effects. This "hidden orchestra" (Kagebayashi) includesshamisen, drums, bells, and flute players. Musical effects performed from behind a black screen (kuromisu), including songs (uta),shamisen music (aikata), and sound effects (narimono) for natural phenomena and supernatural elements, is also called geza.

Gidayū

A style of musical narration (義太夫) created by Takemoto Gidayū in Osaka in 1684, used in puppet theater (ningyō jōruri) andkabuki's gidayū kyōgen.

Gigaku

An ancient form of masked dance-drama (伎楽) that arrived in Japan from Korea in 612 CE. Though primarily performed for Buddhist ceremonies, it significantly influenced later Japanese mask theater, particularlyNoh. Its techniques for mask-making, including the use of carved wood and painted features, established foundations forNoh mask craftsmanship. The practice of using masks to represent specific character types became a fundamental element of Noh theater.

Gigaku masks

Large wooden masks (伎楽面) used in Gigaku performances, characterized by their exaggerated features and larger-than-life size. Their construction techniques, including the hollowing method (うつろ, utsuro) and facial proportion systems, influenced the later development of Noh masks. While Gigaku masks were larger and more exaggerated, their basic principles of character representation through fixed expressions carried into Noh mask design.

Gōrunden kombi

A "golden combination" (ゴールデンコンビ) of famous kabuki actors performing together.

Gosekku

Five seasonal festivals (五節句) traditionally associated withkabuki performances, their motifs often incorporated into costume designs.

Gōshū ondo

A folk dance style from the Ōmi region (近江音頭), featuring characteristic rhythmic patterns and movements. Popular at summer festivals and gatherings.

Habutae

A silk or cotton skull cap (羽二重) worn by actors under their wigs, also referring to the silk fitted over a wig's metal foundation.

Hachinin-gei

A performance art (八人芸, "eight-person art") where a single performer rapidly changes costumes and personas to portray multiple characters in succession, traditionally eight different people.

Haimyō

Literary name (俳名) ofkabuki actors, originally haiku pen-names. Though most popular during the Edo period when some actors were also renowned poets, some actors still use these literary names today.

Hakomawashi

Traveling puppeteers (箱廻し) who performed solo, handling puppets and providing narration themselves. They traditionally visited homes during New Year, performing at doorways to ward off evil and bring good fortune.

Hakushiki-jō

A type ofNoh mask representing a mature male character of high status, characterized by its white coloring and serene expression.

A central aesthetic concept inNoh (花, "flower") explained byZeami in hisKadensho. Represents two types of beauty: the temporary beauty of youth ("individual hana") and the enduring beauty of mature artistic mastery ("true hana"). True hana is considered the ultimate goal of Noh performance, transcending technique to create perfect beauty that can be appreciated by any audience.

Hanamichi

A raised walkway (花道, "flower path") inKabuki theater that extends from the back of the theater through the audience to the main stage. This extension of the stage serves multiple dramatic purposes: as an entrance and exit path for actors, a space for dramatic reveals and important scenes, and a way to bring the action closer to the audience. The hanamichi includes a special position called "shichisan" (七三, "seven-three"), located about 70% of the way from the stage, where actors often perform important speeches or poses.

Handōgataki

Comic villain roles (半道敵, "half-villain") combining menace with humor, often wearing namazukuma makeup for comic effect.

Hannya

ANoh mask depicting a jealous female demon, characterized by its horns, metallic eyes, and fearsome expression. Used in plays about transformed women.

Harukoma

A traditional Japanese dance (春駒, "spring horse") where performers use handheld horse-head props to depict playful horses.

Hatsubutai

An actor's stage debut (初舞台), marking their first official performance appearance.

Hatsuharu Kyōgen

The first performance of the new year (初春狂言, "early spring play"), following thekaomise season. Traditionally features different play types in Edo (sogamono) and Kamigata (ni-no-kawari) regions. Also known as haru kyōgen, hatsu kyōgen, or hatsu shibai.

Hayachine kagura

A form of sacred dance from Iwate Prefecture, performed as offerings at shrines. Combines elements of both yamabushikagura andsatokagura traditions.

Hayagawari

Quick costume changes (早替り) performed by actors during performances.

Hayashi

The instrumental ensemble (囃子) inNoh theater, consisting of four musicians playing thenōkan flute,ōtsuzumi,kotsuzumi, andtaiko drums.

Hayashigata

A member of the hayashi.

Hengemono

A specialized performance style (変化物, "transformation piece") inkabuki where a single actor rapidly changes costumes and makeup to portray multiple characters in succession within the same dance piece.

Higashiyama

A cultural movement during the late Muromachi period that significantly influenced the development of Japanese arts, includingNoh theater. Characterized by its emphasis on refined aesthetics and spiritual depth, it helped shape many of the philosophical principles that guide Noh performance.

Hikae Yagura

Substitute theaters (控櫓, "substitute drum tower") in Edo authorized to performkabuki when licensed theaters faced financial difficulties. System established in 1734, with specific pairings between main theaters (hon yagura) and their substitutes.

Hikidōgu

Wheeled platforms (引道具) used inkabuki to move set pieces or actors across the stage.

Hikimaku

Thekabuki stage curtain (引幕) pulled from right to left, featuring distinctive three-stripe patterns in colors specific to each theater. Also called jōshikimaku.

Hikinuki

A quick-change technique (引抜) where an outer costume is removed by pulling threads to reveal a different costume underneath, performed with the help of stage assistants.

Hon'anmono

Kabuki plays (翻案物) adapted from foreign works but reset with Japanese characters and settings.

Honbutai

The main performance area or "main stage" (本舞台) of theNoh theater, distinguished from the bridgeway and subsidiary spaces.

Honmizu

Real water effects (本水) used as spectacular stage techniques (keren) inkabuki performances.

Honmyō

An actor's real name (本名), as distinct from their stage name or other professional names.

Hyakunichi

A specific type of wig (百日, "hundred days") featuring long, unkempt black hair, used to portray characters who haven't cut their hair for extended periods, such as ill heroes or notorious thieves.

Hyōbanki

Critical evaluations and rankings ofkabuki actors (評判記) published during the Edo period. These reviews served as both entertainment and guides for theatergoers, often featuring detailed analyses of actors' performances and their particular strengths.

Hyōshigi

Wooden clappers (拍子木) used to signal important moments inkabuki performances, originally developed for sutra recitation.

Hyōshigoto

Dances (拍子事) characterized by rhythmic foot-stamping to keep time.

Hyōshimai

An early form ofkabuki dance (拍子舞) where performers simultaneously sing and dance.

Ichibanme

The first section (一番目) of akabuki program, traditionally featuring historical plays (jidaimono). The term reflects the structured organization of kabuki programs that developed after the Genroku era.

Ichiza

A troupe (一座).

Iemoto

Literally a "family foundation" (家元), the current head of a school of Japanese traditional art.

Ie no gei

Family arts (家の芸) passed down through generations, including specific roles and performance techniques.

Iroaku

Handsome villain roles (色悪) depicting attractive but ruthless characters, developed in late Edo period.

Jidaimono

Historical plays (時代物) inkabuki theater, typically set in Japan's feudal past and featuringsamurai, lords, and historical figures. These plays often focus on themes of loyalty, honor, and political intrigue.

Jitsuaku

A purely evil character role (実悪), typically an evil samurai.

Jitsugoto

Realistic acting style and character type (実事) portraying honest individuals in tragic circumstances, contrasting with more stylizedaragoto andwagoto performances.

Jiutai

The chorus (地謡) inNoh theater, typically consisting of six to ten singers who sit at the side of the stage and provide narrative and commentary.^[5]

Jo-ha-kyū

A concept of modulation and movement applied in various Japanese traditional arts. In theater, it refers to the tripartite structure of beginning (jo), break or development (ha), and rapid finish (kyū).

Jokyokumai

A variant ofkusemai (女曲舞, "women's curved dance") in which female performers wear male clothing while performing the traditionally male kusemai dances. This form represents one of several gender-crossing performance traditions in Japanese theatrical history.

Jōruri

A form of traditional Japanese narrative music in which atayū (太夫) sings to the accompaniment of ashamisen. Jōruri accompaniesbunraku, traditional puppet theater.

Kabuki

A classical Japanese dance-drama known for its stylized performances, elaborate costumes, and distinctive stage makeup (kumadori). Originally developed in the early 17th century by Izumo no Okuni, it became an all-male theatrical form after women were banned from performing in 1629.

Kabuki brush

A specialized makeup brush used in kabuki theater for applying white foundation (oshiroi) and other cosmetics. The brush features a flat, wide head and is designed for smooth, even application of theatrical makeup.

Kabuki theater

Traditional Japanese theater buildings (歌舞伎座) with distinctive architectural and organizational features:Stage elements:

• Hanamichi (花道) - Raised passageway through the audience
• Mawari-butai (回り舞台) - Revolving stage
• Seri (迫り) - Trap doors and lifting mechanisms
• Kuromisu (黒水) - Musicians' screen room
• Suppon (スッポン) - Stage lift under the hanamichi

Theater organization:

• Zamoto (座元) - Theater manager/owner
• Tatekata (立方) - Acting section
• Hayashikata (囃子方) - Music section
• Geza (下座) - Orchestra space
• Kurogo (黒衣) - Stage assistants

The building design incorporates both traditional elements and modern theatrical technology, while maintaining historical conventions of space usage and organizational hierarchy.

Kabu-isshin

A fundamental principle inNoh (歌舞一心, "song-dance-one heart") that emphasizes the complete unity of song, dance, and spiritual intention in performance. This concept requires performers to achieve perfect integration of all performance elements, treating song and dance as inseparable aspects of the same artistic expression.

Kachāshī

An Okinawan folk dance (カチャーシー) performed at the end of festivals and celebrations. Characterized by its free-form, joyous movements.

Kagema

Male performers (陰間) who specialized in female roles in earlykabuki, before the establishment of theonnagata tradition.

Kagura

Sacred Shinto dance (神楽) performed at shrines as offerings to the gods. Includes various regional styles and can be either ceremonial or theatrical in nature.

Kaidan

Ghost stories (怪談) performed as theatrical entertainment, often during summer months. These supernatural tales became a popular form of storytelling performance during the Edo period and continue to influence modern Japanese theater and cinema.

Kakegoe

Traditional shouts or calls (掛け声) used in Japanese theater, especiallykabuki. These stylized vocalizations are made by experienced audience members (omuko-san) at specific moments to encourage actors and mark dramatic highlights. Common calls include "Yō!" for general encouragement and "Mattemashita!" ("We've been waiting!") when popular actors appear.

Kakubei-jishi [ja]

A children's lion dance (角兵衛獅子) from Echige (now Niigata) Prefecture, performed by youth wearing small lion masks with chicken feather manes and crimson silk neck guards. Alternatively called Echigo-jishi.

Kamigata

The style ofkabuki (上方) developed in the Kyoto-Osaka region, characterized by more refined, realistic performances compared to the bombastic Edo style. Features subtle acting and elegant movement patterns.

Kamiko

Paper clothing (紙衣) traditionally worn by Buddhist priests, adapted inkabuki as a beautified symbol of poverty. Often decorated with embroidered love letters in gold and silver on black cloth, used inyatsushi scenes depicting fallen characters.

Kami mono

A category ofNoh plays (神物, "god plays") featuring deities as main characters, typically structured in two acts where the deity appears first in human form before revealing their true nature.

Kamishibai

A form of street theater storytelling (紙芝居, "paper play") where performers narrated stories using illustrated boards displayed in a miniature stage, popular in Japan from the 1930s until television's advent in the 1950s.

Kamishimo

Formal samurai attire (裃) consisting of kataginu (sleeveless robe) and hakama. While historically plain,kabuki versions feature elaborate colors and patterns to indicate character status and personality.

Kamisuki

Stylized love scene (髪梳き) where a woman combs a man's hair with her ornamental hairpin, expressing intimate affection through choreographed movements and musical accompaniment.

Kamogawa Odori

Annual dance performances (鴨川をどり) byPontochogeiko in May, known for elaborate fan work.

Kaomise

Annual "face-showing" ceremonies (顔見世) inkabuki theaters, traditionally held in the eleventh lunar month, where theaters present their company of actors for the upcoming season. These performances serve to introduce new actors and showcase the theater's artistic lineup.

Karaori

A fine silk brocade (唐織) used primarily for female roles inkabuki andNoh theater, characterized by intricate weaving patterns incorporating metallic threads and delicate motifs of flowers, birds, and landscapes.

Kata

"Units of movement" in the Noh theater. Can be divided into simple movements likekamae (posture) andhakobi (walk), and complex movement with predefined meaning, likeshiori ("bringing the cupped hand to eye-level, symbolizing crying"). The katas varies in intensity (depending on a character) and the kata sequences are "strictly" choreographed.^[6]

Kataire

Costume style (肩入) featuring patched shoulders and sleeves to represent poverty, though theatrically beautified with decorative patterns. Used for fallen samurai, masterless warriors, and characters in adversity.

Katakiuchi mono

Revenge plays (敵討物) focusing on vendetta stories.

Katakiyaku

Villain roles (敵役) inkabuki.

Kataru

The spoken dialogue portions ofNoh plays, as distinct from the sung portions (utai).

Katsura mono

A category ofNoh plays (鬘物, "wig plays") featuring female protagonists, known for their refined songs and graceful dance movements.

Katsureki

A style ofkabuki plays (活歴, "living history") developed in the Meiji period that aimed for historical accuracy in depicting past events, in contrast to the more stylized traditional historical dramas. These plays emphasized realistic costumes, sets, and historical details rather than conventional theatrical presentations.

Kayaku

Cross-gender casting technique (加役) where actors perform outside their usual specialty for dramatic effect. Notable in cases wheretachiyaku actors play female villains.

Kenshibu

Sword dances (剣舞) performed as part of martial arts demonstrations or religious ceremonies. Combines elements of combat techniques with artistic expression.

Keren

Stage tricks and special effects (外連) used inkabuki theater, including trap doors, quick changes, and other theatrical devices to create dramatic or supernatural effects.

Keshō-goe

Ritualized audience calls (化粧声) duringaragoto performances, where actors playing daimyo and retainers chant "Arya, Korya" repeatedly, culminating in "Dekkee" when the lead strikes a mie pose. These calls celebrate the hero's dramatic presence and coincide withtsuke (clappers) accompaniment.

Wooden clappers (柝, also called hyōshigi) used for three purposes: shirase (announcing actors' arrival and curtain signals), kikkake (cueing stage mechanics), andtsunagi (maintaining tension between scenes). Operated hidden from view, distinct from visible tsuke signals.

Kiri Noh

The final plays (切り能) in a traditionalNoh program, often featuring demons or supernatural beings and characterized by their dynamic movements and dramatic conclusions.

Kishōtenketsu

A four-part narrative structure (起承転結) common in Chinese, Korean, and Japanese storytelling, characterized by:

1. Ki (起) - Introduction of characters and setting
2. Shō (承) - Development of the narrative
3. Ten (転) - An unexpected twist or change in direction
4. Ketsu (結) - Conclusion that brings the elements together

Unlike Western narrative structures, kishōtenketsu often develops without relying on conflict as the primary driver. This structure appears in various forms, from traditional theater to modern manga.

Kizewamono

A genre ofkabuki plays (生世話物, "raw domestic plays") developed byTsuruya Namboku IV and refined byKawatake Mokuami, featuring portrayals of society's outcasts: criminals, prostitutes, masterless samurai, and other marginalized figures.

Kōdan

Narrative stories (講談) focusing on historical events and military tales, performed in specialized storytelling theaters (yose). Distinguished from rakugo by its serious, historical content and use of a storytelling desk (kōza).

Kodōgu

Stage props (小道具) inkabuki, including handheld items (weapons, personal belongings) and pre-set pieces (furniture, decorations). Distinguished from larger stage sets, though pieces broken from sets become props when handled by actors.

Kōjō

Formal stage announcements (口上) delivered by actors, typically for succession ceremonies or memorials. Performed either in ceremonial kamishimo dress between acts or in costume during performances.

Kokata

A child actor role inNoh theater.^[5]

Kōken

A non-performing, senior actor (後見) inNoh theater who overviews the play and assists the main actor,shite. Koken must take over the shite's role in case shite can't perform.^[5]

Kokoro

A crucial concept inNoh (心, "heart/mind") that refers to the mental and spiritual state of the performer. Also read as "shin", it represents the ideal state of consciousness necessary for achieving true artistic expression. To develophana, the actor must enter a state of no-mind, or mushin.

Kokumochi

Costumes (石持) featuring blank white circles where family crests would normally appear, worn to indicate lower social status or fallen fortunes.

Kouta

Short traditional songs (小唄, "little songs") originating in Edo-period entertainment districts, typically performed bygeisha withshamisen accompaniment. These brief pieces, usually under three minutes, contrast with longernagauta performances.

Koyaku

Child roles (子役) inkabuki.

Kōwakamai

A medieval narrative dance-drama (幸若舞) that influenced the development ofNoh theater. Features dramatic recitation of historical tales accompanied by stylized movement.

Kowakare

Emotional scenes (子別れ) depicting parent-child separations, typically performed withshamisen accompaniment.

Kudoki

Dramatic scenes (口説き) whereonnagata actors express deep emotions, similar to operatic arias.

"Ichikawa Danjūrō IX asSoga Gorō Tokimune", featuring Sugi-Guma kumadori makeup andkurumabin wig. Print by Tadakiyo (Hasegawa Kanbee XIV), 1896

ActorMatsumoto Kōshirō VIII in kumadori makeup in the same role, 1953

Kumadori

The distinctive face makeup patterns (隈取) used inkabuki, featuring bold lines and colors that represent different character types. Red lines indicate passion and heroism, while blue represents evil or supernatural beings.

Kumadori styles

The principal patterns of kumadori (隈取) face makeup in kabuki include:

• Ni-hon-Guma (ニ本隈, "two lines") - Two red lines extending into the hairline from eyebrows and eyeline, expressing quiet heroic strength.
• Sugi-Guma (筋隈) - The iconic red-lined pattern worn by heroes like Kamakura Gongoro in Shibaraku, representing righteous anger and power.
• Mukimi Kuma (むきみ隈) - Refined red patterns for young, handsome heroes, exemplified by Sukeroku's makeup in Sukeroku Yukari no Edo Zakura.
• Zare-Guma (ざれ隈, "playful" kumadori) - Comic villain patterns using red lines to create animal-like appearances, indicating non-serious characters.
• Kuge Kuma (公家隈) - Blue patterns for villainous court aristocrats, similar in design to sugi-guma but using blue to indicate malevolent intent.

Kuichaa

A traditional dance form from the Yaeyama Islands, characterized by its slow, graceful movements and accompanying songs.

Kumi Odori

A form of musical theater (組踊) developed in the Ryukyu Kingdom (modern-day Okinawa) in the early 18th century. Combines elements ofNoh,kabuki, and local Ryukyuan performing arts, featuring distinctive music, dance, and costume styles.

Kuroko

Stage assistants (黒子) in Japanese theater who wear all-black clothing and hoods. By theatrical convention, they are considered invisible while they move props, assist with costumes, and manage stage effects. Most prominent inkabuki theater, where they work in full view of the audience while maintaining the theatrical illusion.

Kurumabin

Distinctive wig style (車鬢) foraragoto roles, featuring hair bundles tied at the sides of the face, classified by number of bundles (five or seven).

Kusemai

A dramatic dance-song tradition (曲舞) that emerged in the 14th century, characterized by its strong rhythmic patterns and narrative content. Kusemai significantly influenced the development ofNoh theater, particularly its musical elements and dance sequences. The form features a distinctive curved or winding movement pattern that gave it its name.

Kyo Odori

Spring dance performances (京おどり) by the Miyagawachogeiko district, held in early April.

Kyōgen

A form of traditional comic theater that developed as an intermission and comic relief betweenNoh plays. Features mime, slapstick, and dialogue in a relatively colloquial Japanese language.

Kyogen mask

Masks used in Kyogen theater (狂言面, kyogen-men), worn less frequently than in Noh. Primary types include:

• Buaku (武悪) - A mask for mischievous servant characters with bulging eyes and wrinkled features
• Usofuki (嘘吹き) - Used for supernatural characters, featuring puffed cheeks
• Kitsune (狐) - Fox mask used for shape-shifting fox spirits
• Saru (猿) - Monkey mask for various animal plays
• Nushi (主) - Old man mask used for master characters

UnlikeNoh masks, Kyogen masks are used primarily for non-human characters and comic roles, as most human characters perform unmasked to allow for more expressive facial reactions.

Kyōgen Sakusha

Professionalkabuki playwrights (狂言作者) who emerged during the Genroku period as plays became more complex.

Kyōran mono

A subcategory ofNoh plays (狂乱物, "madness plays") depicting characters experiencing mental anguish or psychological breakdown.

Ma

The concept of negative space or silence (間) inNoh music and performance, considered essential to the dramatic and musical structure.

Maiko

Apprenticegeiko (舞妓, "dancing child") who undergo years of training in traditional arts before becoming full geiko, typically beginning around age 15.

Manzai

A traditional Japanese comedy, a style ofowarai, usually performed by a duo, (manzaishi)—astraight man (tsukkomi) and afunny man (boke)—tradingjokes at great speed. Most of the jokes revolve around mutual misunderstandings,double-talk,puns and other verbal gags.

Matsubame Mono

Plays performed using the matsubame stage setting (松羽目物), featuring a painted pine tree backdrop imitating noh theater stages. Popular in adaptingnoh andkyōgen works tokabuki, especially during Meiji and Taishō periods.

Mawari Butai

Revolving stage (廻り舞台) allowing quick scene changes by rotating 180 degrees to reveal new settings. Originally was manually operated from below stage (naraku).

Meriyasu

A type of music and dance style inkabuki (メリヤス), characterized by its light, rhythmic quality and often used in dance sequences.

Metsukebashira

The "gazing pillar" (見付柱) on theNoh stage, located at upstage left. Used by performers as a positioning marker.

Michiyuki

A poetic travel sequence (道行, "path going") found in multiple forms of Japanese theater, particularlyNoh andkabuki. In Noh, it refers to a journey scene where characters describe their travel through specific locations, often incorporating references to classical poetry and famous places (utamakura). In kabuki, michiyuki evolved into a specialized type of love-suicide scene where doomed lovers undertake a final journey together. The michiyuki combines physical movement, poetic description, and musical accompaniment to create a heightened emotional atmosphere, often serving as a crucial dramatic turning point in the performance.

Michiyuki Buyō

Dance pieces (道行舞踊) depicting characters' journeys, typically featuring pairs (lovers, parent-child, or master-servant) accompanied bytakemoto,tokiwazu, orkiyomoto music.

Mie

A dramatic pose (見得) struck by actors at moments of emotional intensity inkabuki plays. The actor freezes in a powerful, expressive position while the drum roll builds tension. Specific types include:

• Genroku Mie - horizontal right arm, raised left arm with wide stance
• Ishinage no Mie - stone-throwing pose
• Hashiramaki no Mie - body wrapped around a pillar or weapon
• Tenchi no Mie - coordinated poses between actors at different heights
• Fudo no Mie - poses imitating Fudo Myoo deity

Mitate-e

A genre ofukiyo-e, that employs allusions and puns. Related to theater, it means depiction of real performers in roles they had not performed.

Miyako Odori

The most famous annualgeiko dance performances (都をどり, "Capital City Dances") held in April by Gion Kobu district, featuring elaborate costumes and traditional choreography.

Mizugoromo

A three-quarter-length overgarment (水衣, "water garment") worn inNoh theater. Made from yore, a distressed plain-weave cloth with displaced wefts, creating a ragged appearance. Though used for various roles, it's particularly associated with suffering ghosts and destitute characters.

Mizu-shōbai

The "water trade" (水商売), referring to entertainment and hospitality professions without fixed salaries, including traditional performers likegeisha andkabuki actors, as well as modern entertainment industry workers. The term reflects the fluid, unstable nature of income in these professions.

Mon

Family crests or emblems (紋) used on costumes and props inkabuki to identify characters' social status and family affiliations.

Monogatari

a literary form in traditional Japanese literature; an extended narrative tale comparable to epic literature.

Monomane

The principle of artistic imitation inNoh (物真似), focusing on accurate representation of roles and actions. While sometimes contrasted with yūgen, it is considered part of a continuous spectrum of performance techniques rather than its opposite. Monomane emphasizes the intent to accurately depict the motions of a role, as opposed to purely aesthetic reasons for abstraction or embellishment.

Mugen Noh

A category ofNoh plays (夢幻能, "supernatural Noh") featuring supernatural beings, ghosts, or spirits, characterized by non-linear time progression and multiple timeframes.

Mushin

A state of "no-mind" (無心) thatNoh actors strive to achieve, where they transcend conscious thought to reach perfect performance. Essential for developinghana.

Myō

An aesthetic quality inNoh performance (妙, "charm") achieved when an actor transcends mere imitation to embody their role completely. Myō represents the state where an actor performs flawlessly and without any sense of imitation, effectively becoming the role they are portraying.

Nagauta

Long-form musical narrative (長唄, "long song") used inkabuki theater, performed withshamisen accompaniment. Features extended storytelling through song with complex musical arrangements.

Nembutsu [ja]

A traditional Buddhist performance art of the Heian period (念仏踊り, nembutsu odori) combining dance with chanted prayers. Exists in two main forms: one where dancers and chanters are separate, and dancing nembutsu (踊り念仏) where performers both dance and chant Buddhist invocations simultaneously. Originally religious, it evolved into entertainment during the Muromachi period, combining love songs with prayer chants, and influenced earlykabuki.

Nigao-e

A genre ofukiyo-e, portrait prints (似顔絵) ofkabuki actors, typically bust-view images capturing distinctive facial features for easy recognition.

Nihon-buyō

Traditional Japanese dance (日本舞踊) that forms an essential part ofkabuki performance, combining elements fromNoh, folk dance, and other movement traditions. Emphasizes grace, subtle movement, and the expression of poetic imagery through choreography.

Nimaime

Handsome male role type inkabuki (二枚目) with white face makeup, named for being listed on the second billing board in Edo-period theaters.

Ninjō-banashi

Erotic stories (人情噺) performed in theyose theater tradition, focusing on human emotions, relationships, and love affairs. These narratives often explored the conflict between social obligations (giri) and human feelings (ninjō).

Ningyōburi

Ningyōburi (人形振り) is a style ofkabuki acting where the actor imitates the exaggerated motions of a puppet. Often, one or two actors as puppeteers appear behind the main actor and mime controlling that actor's movements. These puppeteers often dress in black (likekurogo). This technique is mostly used in kabuki plays derived from puppet theater plays.

Nōgaku

The general term forNoh andKyōgen theater together, recognized by UNESCO as an Intangible Cultural Heritage. Encompasses both the serious, symbolic Noh drama and the comic Kyōgen interludes.

Noh

The oldest surviving form of Japanese theater, originating in the 14th century. Characterized by masked performers, slow and stylized movement, poetic text, and accompaniment by a chorus (jiutai) and instrumental ensemble.

Noh actors

There are five roles in the Noh theater: main actor, usually masked,shite (and sometimes a companion actor,shite-tsura), secondary actorwaki (and sometimes a companion,wakizura), a chorus,jiutai, a child actor role,kokata, and a non-performing, senior actor,kōken, who helps the shite. An actor who plays between the first and the second parts of the performance is calledai-kyōgen.^[5]

Noh-bayashi

The traditional musical ensemble ofNoh theater (能囃子), consisting of three drummers and a flutist who provide accompaniment throughout the performance.

Noh masks

Carved wooden masks (能面, nōmen) essential toNoh theater, with approximately 450 different types divided into major categories based on age, gender, and social status. The mainshite (protagonist) typically wears a mask, while thewaki (supporting actor) performs unmasked. These masks are considered sacred objects and are handled with reverence, with specific rituals for their donning and use. The subtle changes in a mask's expression are achieved through the actor's movements and shifts in angle relative to lighting, a technique called "tilting the mask" (曲見, kurume). Despite their fixed features, master actors can make masks appear to express varying emotions through subtle head movements and control of lighting angles.

Noh stage

The traditionalNoh stage, or butai (舞台), characterized by its distinctive architectural features including an independent roof and four named pillars. The stage is designed to create complete openness between performers and audience.

• 
  Positions of players on a Noh stage.
  Center:shite (main actor) wearing aNoh mask and holding fan.
  Front right:waki.
  Right: eight-personjiutai (chorus).
  Back: fourhayashikata (musicians), from right to left: fue (flute), kozutsumi (shoulder drum), ohzutsumi (hip drum) and taiko.
  Left rear: two kohken (stage hands).
• 
  Noh performance

Nōkan

A 40 cm bamboo flute (能管) producing distinctive high-pitched tones, used in bothnagauta andgeza music.

Nuigurumi

Full-body animal costumes (縫ぐるみ) used for portraying animals inkabuki.

Nuihaku

A short-sleeved kimono (縫箔) with elaborate embroidery used inNoh.

Nureba

Stylized love scenes (濡れ場) performed with narration and music accompaniment. Uses indirect expression techniques likekamisuki, avoiding explicit portrayal of passion.

Nuregoto

Kabuki plays focusing on passion and romance (濡れ事), emphasizing character development and dialogue over spectacle.

Odori

Traditional Japanese dance (をどり/踊り) as performed bygeiko andmaiko, characterized by precise, graceful movements and strict adherence to established forms.

Okayama

A traditional dance style from Okayama Prefecture, featuring distinctive local characteristics and often performed at regional festivals.

Okina

A special ritual performance (翁) combining dance with Shinto ceremonies, considered the oldest type ofNoh play and typically performed at the beginning of special programs.

Omigoromo

A theatrical costume (小忌衣) specifically designed for high-ranking characters like shoguns, featuring elaborate embroidery, an extended hem that trails on the ground, and a distinctive upturned collar.

Onikenbai

A "devil's sword dance" (鬼剣舞), A ritual dance featuring performers in demon masks wielding swords, often performed at temples and shrines to ward off evil spirits (oni). The dance was popular in northeastern Japan, and usually employed eight dancers.

Onna Budō

Female martial arts roles (女武道) inkabuki, depicting women skilled in combat while maintaining feminine grace and modesty.

Onnagata

Male actors who specialize in playing female roles inkabuki theater. They employ sophisticated techniques to create the appearance and mannerisms of female characters.

Onna Kabuki

Early form ofkabuki (女歌舞伎) performed by women between 1603 and 1629, before being banned for moral reasons. Distinguished by use ofshamisen and courtesans performing male roles.

Onna no kusemai

Another name for women'skusemai performances (女曲舞, literally "woman's curved dance"), identical to jokyokumai. These performances featured women adopting male dress and performing pieces from the kusemai repertoire, similar to howshirabyōshi performers would cross-dress in their performances.

Onryō mono

A subcategory ofNoh plays (怨霊物, "vengeful ghost plays") featuring the spirits of those who died with strong resentments or unresolved emotions.

Onryōgoto

Plays about vengeful ghosts (怨霊事).

Ōshibai

Major licensedkabuki theaters (大芝居) of the Edo period in major cities.

Oshiguma

A face print (押隈) made by pressing rice paper against an actor's face after a performance to record theirkumadori makeup pattern. These prints became collectible items for fans.

Oshiroi

The white foundation makeup (白粉) used inkabuki theater, applied as a base layer before other makeup elements. This distinctive white makeup symbolizes the theatrical nature of kabuki and creates a blank canvas for additional character makeup.

Ōtsuzumi

Also known as ōkawa (大皮), a hip drum used inNoh theater'shayashi ensemble, characterized by its deeper tone and played while placed on the performer's hip.

Owarai

A broad word (お笑い) used to describe Japanese comedy as seen on television.

Oyajigata

Roles depicting elderly men (親仁方) inkabuki.

Pintokona

Awagoto role type (ぴんとこな) combining soft charm with samurai toughness, distinct from purely femininetsukkorobashi roles.

Rakugo

A form of verbal entertainment where a lone storyteller (rakugoka) sits on stage and tells a comic monologue using only a fan and a hand towel as props. Rakugo styles include shibaibanashi (芝居噺, theatre discourses), ongyokubanashi (音曲噺, musical discourses), kaidanbanashi (怪談噺, ghost discourses), and ninjōbanashi (人情噺, sentimental discourses).

Rien

Term for thekabuki community (梨園, "Pear Garden"), derived from the Chinese Emperor Xuanzong's imperial garden where performers trained.

Rōjaku

The highest stage ofNoh performance development (老弱, "old and tranquil"), characterized by the elimination of all unnecessary elements. In this stage, the performer eliminates all unnecessary action or sound, leaving only the true essence of the scene or action being imitated.

Rōkyoku

A form of traditional Japanese narrative singing (浪曲, also known as naniwa-bushi 浪花節) performed withshamisen accompaniment. The genre gained significant popularity in the early 20th century, featuring dramatic storytelling that often focused on historical tales and moral stories.

Roppō

Stylized exit techniques (六方) performed on thehanamichi, featuring distinctive arm movements and footwork. Types include tobi roppō (running), kitsune roppō (fox-like), keisei roppō (courtesan style), and oyogi roppō (swimming motions).

Ryōkake Noh

A hybrid category ofNoh plays (両掛能) combining elements of both Genzai and Mugen Noh, with the first act set in the present and the second in the supernatural realm.

Sabakiyaku

Roles portraying men of wisdom and integrity (裁き役) inkabuki.

Sammaime

Comic actors (三枚目), named for their traditional listing on the third placard outside Edo-period theaters. Often wear distinctive zareguma makeup and contribute comic relief to serious plays.

Sangaku [ja]

An early form of Japanese entertainment (散楽) that arrived from China during the Nara period. Similar to circus performances, it featured acrobatics, juggling, magic tricks, and other spectacle-based performances. These continental entertainments were performed at the imperial court and gradually evolved as they mixed with local traditions.

Sarugaku

A form of theater (猿楽, "monkey music") that flourished in Japan during the 11th to 14th centuries. Developing fromsangaku, it combined comic skits, acrobatics, and dance with musical accompaniment. Sarugaku eventually split into two major branches: one became the serious, dramaticNoh theater, while the other developed into the comicKyōgen tradition. The term "monkey music" may refer to the playful, entertaining nature of early performances.

Semeba

Scenes depicting the torture or persecution of virtuous characters, particularly common insewamono plays of the late Edo period.

Senshūraku

The final day of akabuki performance run (千秋楽/千穐楽), with the alternate writing avoiding the character for "fire" due to theatrical superstition.

Sewamono

Domestic plays (世話物) inkabuki dealing with contemporary life and relationships during the Edo period, often featuring merchants and townspeople rather than historical figures.

Shamisen

A three-stringed plucked instrument (三味線) central tokabuki,bunraku, and other theatrical forms. Different styles and techniques are used depending on the genre and dramatic context.

Shibai-e

A genre ofukiyo-e, theatrical prints (芝居絵) depicting scenes fromkabuki plays.

Shibai jaya

Theater teahouses (芝居茶屋) servingkabuki audiences.

Shibaraku

Short dramatic interludes (暫) lasting about fifty minutes, performed between longer plays to maintain audience interest.

Shidai

Opening musical passage inshosagoto (dance plays), adapted fromnoh theater traditions and typically played on thenohkan flute during character entrances.

Shikami

A type ofNoh mask depicting a furious demon or angry spirit, characterized by its intensely wrinkled features and aggressive expression.

Shiki-sanban [ja]

Three traditional pieces performed at the beginning of aNoh program for ritual purification, consisting of Okina, Senzai, and Sambabō.

Shime-daiko

One of the three drums used inNoh theater, characterized by its small size and high, sharp tone.

Shin

Alternative reading ofkokoro (心), referring to both "heart" and "mind" inNoh performance theory. Central toZeami's teachings about performance and artistic development.

Shinbōya

A role (辛抱屋, "patient person") inkabuki depicting mild-mannered individuals who endure extreme suffering or cruelty, typically at the hands of the villain. These roles emphasize the character's patient endurance of hardship.

Shini-e

A genre ofukiyo-e, memorial or death prints (死絵) created upon an actor's death, featuring portraits and biographical information including posthumous names and final poems.

Shingeki

Modern theater movement that emerged in Japan in the early 20th century, focusing on realistic acting and contemporary themes, often adapting Western plays. Literally means "new theater."

Shin-kabuki

Modernkabuki plays (新歌舞伎) written since the Meiji period by playwrights not from the kabuki circles.

Shinpa

A theatrical form that emerged in the Meiji period as a bridge between traditionalkabuki and modernshingeki. Known for melodramatic adaptations of contemporary novels and social themes.

Shinjū Shamisen

A form of musical theater performance featuring tragic love stories, accompanied byshamisen music. Often depicts double suicide stories that were popular during the Edo period.

Shirabyōshi

Female dancers (白拍子) of the late Heian and early Kamakura periods who performed in male dress. Their art combined dance, song, and poetry recitation. It influenced the later development ofNoh theater.

Left: shite of the play Mochizuki, playing Ozawa-no-Tomofusa.
Right: shite playing the character of Inari in the play Kokaji.
Photos byStephane Passet for theArchives of the Planet, Kyoto, 1912.

Shite

The primary actor and soloist (仕手) inNoh plays, who usually perform in aNoh mask. The role is often of an otherworldly creature: a god, a demon, or a spirit of a dead person. Shite can have a companion actor, calledshite-tsure. In the first act, shite is calledmae-shite, and is often "a spirit who has assumed the form of a person"; in the second act, shite is callednochi-shite and can be "a ghost or apparition of the same spirit".Kōken is a senior, non-performing actor, who overviews the play and must take over if shite is unable to perform.^[5]

Shitebashira

The "main actor's pillar" (仕手柱) on theNoh stage, located at upstage right. Serves as a primary reference point for the shite's movements.

Shitetsure

The companion (仕手連れ) to the main character (shite) inNoh plays. Sometimes abbreviated astsure when referring to both shitetsure andwakitsure.

Shishi-odori [ja]

A traditional folk dance (鹿踊り, "deer dance") from northern Japan, primarily preserved in Iwate, Miyagi, and Uwajima regions. Performers wear deer-head masks (shishi-gashira) with hanging cloth covering their upper bodies, and perform vigorous jumping movements imitating deer. Two main styles exist:

• Maku-odori: Dancers hold cloth curtains while separate musicians provide accompaniment, common in northern Iwate
• Taiko-odori: Dancers play waist-drums while performing, prevalent in southern Iwate, Miyagi, and Uwajima

Shō

Musical instrument (笙) that consists of 17 bamboo pipes; one of the primary instruments ofgagaku.

Shōjō

A type ofNoh mask depicting a mythical sake-loving water spirit, characterized by its red coloring and generous expression.

Shosa

The distinctive movement style (所作) ofkabuki dance, combining rural and urban folk elements.

Shosagoto

Dance pieces (所作事) inkabuki that emphasize movement and music over plot, showcasing the performers' grace and technical skill.

Shozoku

The traditional costume robes (装束) worn inNoh theater, made of richly embroidered silk with different levels of elaborateness depending on the character's importance.

Shūmei

The ceremonial taking of a new stage name (襲名) by akabuki actor, usually inheriting the name of a respected predecessor. This practice helps to maintain artistic lineages and traditions.

Shura mono

A category ofNoh plays (修羅物, "warrior plays") featuring the ghosts of fallen warriors who recount their death in battle and seek spiritual salvation.

Sōran Bushi

A traditional fishermen's folk song and dance (ソーラン節) from Hokkaido. The movements imitate the work of hauling fishing nets and processing fish.

Suppon

A small trap door (スッポン) located on thehanamichi, used for supernatural characters' dramatic entrances and exits, often enhanced with smoke effects.

Tachimawari

Stylized fighting scenes (立廻り) inkabuki, performed to music with choreographed movements, often incorporating special techniques liketombo (somersaults) and emphasized bytsuke (wooden clappers).

Tachiyaku

Male role specialists (立役) inkabuki who perform masculine characters, as distinct fromonnagata who specialize in female roles.

Taishū engeki

Popular theater that emerged in the early 20th century, combining elements ofkabuki with modern drama. Often performed in small theaters and characterized by melodramatic stories and spectacular stage effects.

Takarazuka Revue

An all-female musical theater troupe founded in 1913. Known for its lavish productions combining Western-style musicals with Japanese elements, featuring actresses playing both male (otokoyaku) and female (musumeyaku) roles.

Takemoto

The narrative chanting style (竹本) used inbunraku puppet theater, performed by atayu (chanter) withshamisen accompaniment. Characterized by its dramatic vocal delivery and emotional expression.

Takigi Noh [ja]

OutdoorNoh performances (薪能, takigi nō) performed at night by bonfire light. Originally developed from Takigi Sarugaku (薪猿楽) ceremonies at Kōfukuji Temple's Saikondō in Nara, dating back to the Kamakura period. Initially a ritual for exorcising demons, it evolved into ceremonial performances by the four Yamato Sarugaku schools. While the original Kōfukuji performances were religious ceremonies offering firewood to deities, the term now generally refers to outdoor Noh performances illuminated by bonfires, commonly held at shrines, temple grounds, and historic sites during summer evenings.

Tateonnagata

The principalonnagata (female-role specialist) (立女方) in a theater.

Tayū

A narrator or chanter (太夫) injoruri andbunraku puppet theater, who provides both narrative and character voices with dramatic expression.

Tezuma

Traditional Japanese magic performance art (手妻, also called wazuma 和妻) combining sleight-of-hand with theatrical elements, rooted in street performance and temple entertainment traditions.^[8]Classic repertoire includes:^[9]

• Paper magic (連理の曲, 紙片の曲) - transforming paper through cutting and restoration
• Bowl and ball manipulations (お椀と玉)
• Water effects (五色の砂, 五色の水) - color-changing water and sand
• Rope tricks (真田紐の焼つぎ) - cutting and restoring cord
• Butterfly dance (古蝶の舞) - paper butterfly manipulation with fan
• Rice bowl productions (紙うどん) - paper to noodles transformation

Tokiwazu

A style ofshamisen music (常磐津) accompanyingjōruri narrative performance.

Tokoyama

Wig maker and hairdresser (床山) forkabuki actors.

Tsuzumi

Hour-glass shaped hand drums (鼓) used inNoh andkabuki music. Include the larger ōtsuzumi (大鼓) played at the hip and smaller kotsuzumi (小鼓) played at the shoulder.

Tombo

Acrobatic somersault (とんぼ) performed duringkabuki fight scenes, typically executed by supporting actors when struck or thrown by the lead character intachimawari sequences.

Toya

A preparation room (鳥屋) located at the end of thehanamichi passageway, where actors make final costume adjustments and prepare for their entrances.

Tsuke

Wooden clappers (ツケ) used for sound effects, particularly to emphasizemie poses and dramatic moments, struck against a board at stage right.

Tsukkorobashi

Akabuki character type (つっころばし) inwagoto style depicting a spineless man who falls down when pushed, requiring a soft acting style similar toonnagata roles.

Tsuzuki-Kyōgen

Multi-act plays (続き狂言) that tell one continuous story, developed during the Kanbun period (1661-1672) as opposed to single-act hanare-kyōgen.

Uba

A type ofNoh mask representing an elderly woman, characterized by its deeply wrinkled features and gentle expression.

Uchikake

An ornate overcoat (打掛) worn inkabuki by characters such as samurai wives, princesses, and courtesans. Notable for its long hem and elaborate embroidery, with specific color combinations indicating character types.

Utai

The sung portions ofNoh plays, characterized by their limited tonal range and poetic text structure based on traditional Japanese seven-five rhythm. Performed by both the main actors and the chorus.

Utaigakari

Sections ofnagauta music that incorporatenoh-style chanting, combiningkabuki music with traditional noh vocal techniques.

Utsushi-e

A form of shadow theater (写し絵) that emerged in the Edo period, using magic lanterns to project images onto screens. It was an early form of moving picture entertainment in Japan that combined storytelling with visual effects.^[10][11][12]

Wagoto

A gentle, romantic style of acting (和事) developed in Kamigatakabuki, featuring refined movements and emotional subtlety. Often used for romantic lead roles and sophisticated urban characters.

Wagotoshi

An actor playing in Wagoto style.

Wakaonnagata

Onnagata specializing in young female roles (若女形).

Wakaotoko

A type ofNoh mask depicting a young man, characterized by its smooth features and refined expression.

Wakashugata

Actors portraying young male roles (若衆方), especially handsome characters.

Wakashū Kabuki

Early form ofkabuki (若衆歌舞伎) performed by young males before coming of age, popular after the 1629 ban on women performers until its own prohibition in 1652.

Waki

The secondary character (脇) inNoh plays who serves as a counterpart to theshite. It is a role of a realistic male character (and thus unmasked), usually a shrine official, a warrior, or a traveling monk, a witness to supernatural events who provides the shite "with a reason to appear and perform". Waki can have companion actors, calledwakizure.^[5]

Wakibashira

The "secondary actor's pillar" (脇柱) on theNoh stage, located at downstage right. Associated with thewaki's position and movements.

Wakitsure

The companion (脇連れ) to thewaki in Noh plays.

Yagō

Professional or house names (屋号) used in Japanese traditional arts, particularly inkabuki. Often ending in "-ya" (〜屋), these names identify acting families, artistic lineages, and professional identities. They may reference a founder's birthplace or artistic specialty and are often associated with specific family crests (mon).

Yakkofuri [ja]

A traditional performing art (奴振り, also called yakkoburi) depicting the stylized movements of samurai attendants (yakko) carrying ceremonial items such as boxes, umbrellas, and spears. Originally performed during feudal lord processions, it influencedkabuki dance and festival traditions, with about 300 variations still performed throughout Japan (except Okinawa).

Yakugara

System of role types inkabuki (役柄) categorizing characters by social status, age, and dramatic function, includingtachiyaku (heroes),katakiyaku (villains), andonnagata (female roles), each with distinctive costumes and makeup.

Yakusha

Traditional term for actors (役者) inNoh,kyōgen, andkabuki.

Yakusha-e

Woodblock prints (役者絵) depictingkabuki actors, often showing them in famous roles or scenes. These prints served as both advertising and collectible artwork.

Yōkyoku

The libretti or texts ofNoh plays (謡曲), characterized by their highly poetic language, sophisticated literary allusions, and careful integration with music and movement. These texts combine prose, poetry, and chant sections structured according to aesthetic principles likejo-ha-kyū.

Yarō Kabuki

Form ofkabuki (野郎歌舞伎) performed by adult male actors who had shaved their forelocks, developed after the ban onwakashū kabuki and marking the transition to more complex theatrical productions.

Yatsushi

Akabuki performance style (やつし) depicting nobility fallen into poverty, requiring actors to combine elegant mannerisms with representations of hardship, typically performed inwagoto style.

Yosakoi

A modern festival dance style (よさこい) that originated in Kōchi Prefecture, combining traditional Japanese dance movements with contemporary music and choreography.

Yose

A type of traditional Japanese variety theater (寄席) that emerged during the Edo period as a venue for popular entertainment. These theaters typically feature multiple performers presenting different styles of oral storytelling and entertainment throughout the day. Unlike formal theaters, yose traditionally had audience members seated on tatami mats, creating an intimate atmosphere.

Yose performance styles

The major performance arts featured in yose theaters include:

• Rakugo (落語) - Comic storytelling performed by a single narrator (rakugoka) who remains seated on stage, using only a fan and hand towel as props.
• Kōdan (講談) - Historical narrative storytelling performed from behind a desk (kōza), often featuring military tales and historical events.
• Ninjō-banashi (人情噺) - Sentimental stories focusing on human relationships and emotional conflicts, especially the tension between duty (giri) and personal feelings (ninjō).
• Kanzen-banashi (勧善噺) - Moral stories intended to promote virtuous behavior.
• Mandan (漫談) - Comic monologues similar to modern stand-up comedy.
• Daidō-gei (大道芸) - Traditional street performances and variety acts, including:
  • Kamikiri (紙切り) - Paper cutting art
  • Harikiri (張り切り) - String figure performance
  • Tezuma (手妻) - Magic tricks
  • Kyokugei (曲芸) - Acrobatics and juggling
• Zatsugei (雑芸) - Miscellaneous entertainment acts such as:
  • Iromono (色物) - Novelty acts
  • Naniwabushi (浪花節) - Dramatic narrative singing
  • Kouta (小唄) - Short songs
  • Hauta (端唄) - Brief popular songs
• Geinyabanashi (芸屋噺) - Artistic tales focusing on the entertainment world and life in the pleasure quarters.

Yose organization

Traditional yose programs are organized into specific time slots:

• Hiru-yose (昼寄席) - Afternoon program
• Yû-yose (夕寄席) - Evening program
• Shin-yose (真寄席) - Main program
• Asa-yose (朝寄席) - Morning program

Each program typically features multiple performers and styles, arranged to provide variety and maintain audience interest throughout the performance.

Yūgen

A fundamental aesthetic principle inNoh (幽玄, "profound sublimity") representing subtle, hidden beauty that suggests rather than states. Originally used in waka poetry to mean elegance or grace representing perfect beauty, in Noh it refers specifically to the representation of transcendental beauty, including the emotional depth found in sadness and loss. Yūgen is invisible beauty that is felt rather than seen in a work of art.

Zagashira

Principal actor, or the leader of an acting troupe (座頭), of akabuki company. Historically held extensive authority over both artistic and management decisions during Edo period's year-long contracts.

Zangirimono

A genre of Meiji-erakabuki plays (散切り物, "cropped-hair plays") developed by playwrightKawatake Mokuami and actorOnoe Kikugorō V. These plays featured contemporary characters with Western-style short haircuts rather than traditional samurai topknots, depicting modern office workers and government officials in contemporary settings as part of kabuki's modernization efforts.^[13]

Zamoto

A theater manager or producer (座元) inkabuki, responsible for both artistic and business aspects of production.

2.5D musical

A contemporary form of musical theater that adapts manga, anime, and video games into stage performances. Combines traditional theatrical elements with modern multimedia effects to recreate the two-dimensional source material in a live setting.

• Leiter, Samuel L.; Yamamoto, Jirō (1979).Kabuki encyclopedia: an English-language adaptation of Kabuki jiten. Westport, Conn: Greenwood Press.ISBN 978-0313206542.
• Leiter, Samuel L. (30 July 1997).New Kabuki Encyclopedia: A Revised Adaptation of UKabuki Jiten. Bloomsbury Academic.ISBN 978-0-313-29288-0.
• Leiter, Samuel L. (30 October 2014).Historical Dictionary of Japanese Traditional Theatre. Rowman & Littlefield.ISBN 978-1-4422-3911-1.
• Pinnington, Noel John (21 February 2019).A New History of Medieval Japanese Theatre: Noh and Kyōgen from 1300 to 1600. Springer.ISBN 978-3-030-06140-1.
• Odanaka, Akihiro; Iwai, Masami (16 July 2020).Japanese Political Theatre in the 18th Century: Bunraku Puppet Plays in Social Context. Routledge.ISBN 978-0-429-62000-3.

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