Noh Masks and Costumes

Noh masks, called omote (lit., "face") are very important props that are symbolic of Noh as a masked drama. In documents surviving from the Momoyama period, about 60 types of masks are listed, and these account for most of the masks in use even today. Most but not all shite roles require the use of a mask, but in principle the roles ofkokata (child actors) and actual living men are performed without a mask. This performance style is called hita-men (lit., "direct face"), and the actor performs without expression, as though his face has become his mask. Within established limits, there are specific masks used for each type of character. The actor performing the shite role chooses the most appropriate mask based upon his idea of the subject matter and his plan for the performance.

The masks are sculpted in a way in which the real and the abstract are ingeniously joined to produce a beauty of form, and great effort has been exerted to make them conform to the actual performance. Depending upon the movements of the actor, they can cause various moods to be expressed upon the stage.

  

● Okina Masks

○ Hakushiki-jo; Nikushiki-jo; Kokushiki-jo; Chichi-no-jo; Enmei Kaja

These masks were used by Sarugaku troupes when they performed Okina Sarugaku, before Noh was given its final form. Because they were used in sacred prayer rituals, there are even today some shrines that have enshrined them as objects of worship. Each one of these masks expresses rich laughter, and all except Enmei Kaja portray an old god, and display special features, such as the separate jaw part, and the form of the eyes and eyebrows. Used in the play Okina, the Hakushiki-joand Nikushiki-jo are normally used for the main role of Okina, while the Kokushiki-jo is used by the Kyogen actor for the part of Sanbaso, but theChichi-no-jo and Enmei Kaja masks are sometimes used in special performances.

● Old Man Masks ○ Ko-jo; Akobu-jo; Asakura-jo; Sanko-jo; Warai-jo; Shiwa-jo; Mai-jo; Ishio-jo; Oaku-jo; Hanakobo Aku-jo; Washikobu-jo; Myoga Aku-jo; Omoni Aku-jo; Beshimi Aku-jo; etc. Old Man masks express the features of very old men, and there are many different types of such masks, some with implanted hair that is tied up, and some that have distinguishing beards or teeth. Among them all, the Ko-jo mask is the most refined, and is often used when a god takes on the form of an old man, as in the play The Twin Pines. TheSanko-jo mask is used when the ghost of a fallen hero takes on the form of an old fisherman, woodcutter, or other common villager. The Ishio-jomask, the eyes of which are very special, is often used for an old man or the spirit of a plant or tree that performs an elegant, stately dance. The special characteristic of the Aku-jo masks is the mysterious power that they evince.

● God/Demon Masks ○ Ko-tobide; O-tobide; Saru-tobide; Ko-beshimi; O-beshimi; Saru-beshimi; Kumasaka; Chorei-beshimi; Kurohige; Shikami; Shishi-guchi; Yakan; Tenjin; Fudo; etc. The God/Demon Masks express the wildness and raw power of supernatural beings, and are separated into two types: open-mouthed and close-mouthed. The Ko-tobide mask is used for the spirits of animals, such as the ghost of a fox that is cautious and moves around―the wide-open eyes are what give this type of mask its name (since tobide means "bulging [eyes]"). Masks with a large mouth powerfully held shut such as the O-beshimi are used for the roles of goblins. The Shishi-guchi, with its gaping jaws, is used for supernatural beasts such as the lion(s) in The Lion of Stone Bridge, and has eyes that have been painted gold for special effects. In fact, one special characteristic of all of the masks of this type is that they all have gold-colored eyes. ● Male Masks ○ Chujo; Imawaka; Juroku; Atsumori; Heita; Yorimasa; Shojo; Jido; Doji; Kasshiki; Ayakashi; Taka; Awa otoko; Kagekiyo; Yoroboshi; Semimaru; Kantan otoko; Shunkan; etc. The number of Male Masks is very large, as they are used to portray any male character who is not an old man; thus, they are divided both by age and character. There are also special masks that are only used for a single role. The Kantan otoko mask is used to portray a young man named Rosei (Lu-sheng), the shite of The Pillow of Han-tan, who is worried about the meaning of life; it is also used by a young god who performs an energetic dance, like the god in the second part of The Twin Pines. TheHeita mask is used for the ghost of a warrior troubled with an obsession, as in Yashima. The Dojimask is used for the role of a mysterious, beautiful youth, and is characterized by its falling front locks, it eyes and eyebrows, and, in several examples, its dimples. There are also blind character masks (Kagekiyo, Yoroboshi, Semimaru), which are characterized by extremely small holes gouged in downward looking eyes. ● Female Masks ○ Ko-omote; Magojiro; Zo-onna; Waka-onna; Omi-onna; Fukai; Shakumi; Uba; Ro-jo; etc. The number of Female Masks is also very large, as they are used to portray any female character, including an old woman, and they are also divided both by age and character. Compared with the male masks, female masks do not display such a wide range of individuality, and there are no female masks used only for specific roles. Young women usually wear Ko-omote, Magojiro, Waka-onna, or Zo-onna; middle-aged women, Fukai or Shakumi; and old women, Uba or Ro-jo. The way in which strands of hair are drawn on their sides is characteristic of each type. The Ko-omote mask is the prettiest, and expresses a rather naive innocence. With its broad forehead, high eyebrows, and long narrow eyes―having small square holes gouged out of their black pupils, a mouth that can express either a frown or a smile, and full cheeks, it expresses the essence of a young woman. The Fukai mask is used for the distraught mother in Sumida River who comes from Kyoto to Tokyo in search of her son, who had been stolen by slave traders, and it is distinguished by its wrinkle-like dimples. The Ubamask is very refined and expresses a quiet dignity, and is thus used for the old woman in the first part of The Twin Pines as well as for the aged grandmother in The Old Woman Abandoned in the Hills. ● Vengeful Spirit Masks ○ Yase-otoko; Kaeru; Yase-onna; Reijo; Kanawa onna; Deigan; Hashi-hime; Namanari; Hannya; Ja; etc. Vengeful Spirit masks are used to portray angry spirits, both living and dead, whose anger demands expression. The very famous Hannya mask, a representative Noh mask, expresses both the fury and the sorrow of a jealous woman; characterized by its two horns, its gaping mouth, and its angry eyes, it is especially used for woman who have transformed into a demon, as in The Lady Aoi andThe Demon of Dojoji. The Deigan mask is used for a woman who has submerged her jealousy, but who is beginning to change into an evil creature, as in the first half of The Lady Aoi. Its name derives from the golden pigment (kindei) with which the whites of the eyes (gan) have been painted. The Yase-otokomask is used for the ghosts of dead men who have fallen into sufferings of hell, as in Birds of Sorrow; in this mask, gold-colored metal has been applied to the eyes of this haggard man, who has lost all vitality. One characteristic of the masks in this category is that they all have strands of disheveled hair drawn on their sides. COSTUMES In the world of Noh, costumes (isho) are known asshozoku. The costumes of Noh express in a visual way the spirit and substance of a Noh play. Styled after the sumptuous robes given to actors by noblemen and samurai in the Muromachi period, they developed as costumes for performances in the Edo (Tokugawa) period, after Noh had become an official form of entertainment. Woven mainly of silk, many costumes are made of very thick material, and they are made in many determined patterns and colors, often having various designs―all of which combine to create a type of elegant, luxurious beauty. The costumes are thus very closely related to the interpretation, acting, and producing of a role. Thus, the costumes in Noh are second only to the masks in importance. ○ Outer robes (Broad-sleeved): noshi; kariginu; happi; sobatsugi; choken; mai-ginu; mizu-goromo; hitatare; suo; etc. (Small-sleeved): karaori; atsuita; etc. (These are also used as inner robes.) ○ Main robes (inner robes): nuihaku; surihaku; noshime; shironeri; shiroaya; etc. ○ Trousers (hakama): okuchi; hangire; sashi-nuki; naga-bakama; etc. ○ Wigs: katsura; jo-gami, kuro-gashira; aka-gashira; shiro-gashira; kuro-tare; shiro-tare; etc. ○ Other: eri (neck piece); kazura obi; koshi obi; shiro-tabi (white socks) The small-sleeved karaori robes are mainly used as under robes for women characters. They are robes in which embroidery has been added in threads of many colors, including silver and gold, over the woven designs, so one characteristic is that the designs stand out in relief. In general, women's costumes are divided into two categories: those employing the color red in them (iro-iri, "with red"), and those without any red at all (iro-nashi, "without red"), and this concept is carried over into all aspects of costuming―even as far as the color of wig bands, fans, and the lining of the robes. The idea operates according to the role, so that, usually, a young woman wearing a Ko-omote or Magojiro mask will be clothed in a robe having much red, while a middle-aged woman wearing a Fukai or Shakumi mask will be dressed in a robe without any red. The broad-sleeved choken is worn by over half of the roles portraying celestial beings and angels that perform a special dance. The usual costume for theshite in the second half of The Well-Curb is: Waka-onna mask, a gold-leaf-appliqué (surihaku) under robe, a gold-embroidered (nuihaku) robe (worn around the waist), a special black court cap; and achoken as an outer robe; it is possible, however, to substitute a mai-ginu ("dance robe") for thechoken. The choken is also used for male characters such as court nobles, high-ranking samurai, or the spirits of elegant and refined warriors, but it such a case, it is not just worn over everything else?it is held in place by a brocade waist band. The small-sleeved atsuita is mainly used as an under robe in male costumes, but is occasionally also worn as an outer robe. The patterns are usually geometric, or employ family crests, and one characteristic is that, unlike with karaori, the designs are not embroidered but simply created in flat weave. The small-sleeved nuihaku is mostly used either wrapped around the waist of a female character of lower rank, or as an under robe for an elegant, refined male character. Its special characteristic is that numerous patterns are embossed in gold and silver and embroidered in many colors on the robe. A black nuihaku with many circular designs is often worn by demonic women, as in The Lady Aoi andThe Demon of Dojoji. Surihaku robes are often used as under robes for female characters, the most common type being a white robe with a pattern embossed in either gold or silver. It is usually in a "dewy grass" pattern, but sometimes the pattern consists of a series of embossed triangles that are all joined together, which is reminiscent of scales and is used for demonic women. White okuchi are often used for male roles such as young gods or noblemen, while female roles that require okuchi often use colored ones, especially red ones. Hangire are very similar to okuchi in design, but unlike okuchi, which are woven into very stiff fabric, they have brocade on both front and back with intricate designs and mostly used for male roles such as deities, demons, goblins, and the ghosts of warriors.