Noh
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| - | A '''mime artist''' (from [[Greek language|Greek]] "μίμος"—''mimos'', "imitator, actor") is someone who uses '''mime''' as a theatrical medium or as a [[performance art]], involving miming, or the acting out a story through body motions, without use of [[speech]]. In earlier times, in English, such a performer would typically be referred to as a ''[[mummer]]''. Miming is to be distinguished from [[silent comedy]], in which the artist is a seamless character in a film or sketch. | ||
| - | The performance of [[pantomime]] originates at its earliest in [[Ancient Greece]]; the name is taken from a single masked dancer called ''Pantomimus'', although performances were not necessarily silent. In Medieval Europe, early forms of mime such as [[Mummers Play|mummer play]]s and later [[dumbshow]]s evolved. In early nineteenth century [[Paris]], [[Jean-Gaspard Deburau]] solidified the many attributes that we have come to know in modern times—the silent figure in whiteface. | + | '''Noh''' is a major form of classical Japanese musical [[drama]] that has been performed since the 13th century. Many characters are masked, with men playing male and female roles. Traditionally, a Noh "performance day" lasts all day and consists of five Noh plays interspersed with shorter, humorous [[kyōgen]] pieces. However, present-day Noh performances often consist of two Noh plays with one Kyōgen play in between. |
| - | [[Jacques Copeau]], strongly influenced by [[Commedia dell'arte]] and [[Japan]]ese [[Noh]] theatre, used masks in the training of his actors. [[Étienne Decroux]], a pupil of his, was highly influenced by this and started exploring and developing the possibilities of mime and developed [[corporeal mime]] into a highly sculptural form, taking it outside of the realms of naturalism. [[Jacques Lecoq]] contributed significantly to the development of mime and [[physical theatre]] with his training methods. | + | While the field of Noh performance is extremely codified, and regulated by the ''[[iemoto]]'' system, with an emphasis on tradition rather than innovation, some performers do compose new plays or revive historical ones that are not a part of the standard repertoire. Works blending Noh with other theatrical traditions have also been produced. |
| - | ==See also== | + | |
| - | *[[Corporeal mime]] | + | |
| - | *[[Dumbshow]] | + | == See also == |
| - | *[[Floating (dance)]] | + | * [[Iemoto]] |
| - | *[[Liquid and digits]] | + | * [[Higashiyama Bunka]] |
| - | *[[Mummers Play]] | + | * [[Shuhari]] |
| - | *[[Pantomime]] | + | |
| - | *[[Popping]] | + | |
| - | *[[Physical theatre]] | + | |
| - | *[[Turfing]] | + | |
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Noh is a major form of classical Japanese musical drama that has been performed since the 13th century. Many characters are masked, with men playing male and female roles. Traditionally, a Noh "performance day" lasts all day and consists of five Noh plays interspersed with shorter, humorous kyōgen pieces. However, present-day Noh performances often consist of two Noh plays with one Kyōgen play in between.
While the field of Noh performance is extremely codified, and regulated by the iemoto system, with an emphasis on tradition rather than innovation, some performers do compose new plays or revive historical ones that are not a part of the standard repertoire. Works blending Noh with other theatrical traditions have also been produced.
See also
