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Supporting actors in Noh theater who often play secondary characters such as priests, warriors, or villagers.

An accompaniment piece performed with dance and music, usually presenting an important or climactic portion of the Noh play.

The group of performers who narrate the story, provide background information, and express the internal thoughts and emotions of the characters.

A structural aesthetic concept in Noh theater dictating the tempo of the play: starting slow (jo), breaking away (ha), and ending swiftly (kyū).

Used by the main actor to denote gender, age, and social ranking of the character being portrayed. The mask's expression changes with different angles and lighting.

An aesthetic principle in Noh theater emphasizing subtlety and profound grace. It captures the mystery of the cosmos in the simplicity of the performance.

The ensemble of traditional Japanese musical instruments including the Nohkan, drums, and sometimes a three-stringed lute, providing rhythmic and melodic accompaniment.

Elaborate and symbolic garments worn by performers, typically indicating character roles, status, and the play's mood.

The bridge-like pathway connecting the backstage area to the Noh stage, symbolizing the path between the spiritual and earthly realms.

Interlude comedic plays performed in-between the more serious Noh acts, providing both contrast and comic relief.

A bamboo flute used in Noh theater for its distinct sound that contributes to the play's atmosphere and mood.

The main actor in Noh theater who often portrays multiple roles and wears a mask.

Stylized patterns of movement and gestures in Noh theater, representing emotions, actions, and expressions non-verbally.

A square wooden platform with a roof akin to a Shinto shrine, open on all four sides, allowing for audience visibility from multiple angles.