Question and Answer

 Is it possible for Noh actors to change to different schools?

There are five schools of Noh leading actors, with slight differences in dialogue and style when they perform the same piece. At one time, barriers between the schools were high. When some actors took on amateur pupils, they apparently even received signed notes of assurance that the pupils would never change to different schools.

In the Edo era, though, some Noh actors did change to other schools, due to the wishes of domain lords such as the Maeda clan of the Kaga domain. The name of the “Kaga Hōshō” drama style suggests that the Hōshō School was very popular in the domain. In fact, however, the founder of the domain, Toshiie Maeda, liked the Konparu School. It was the fifth chief of the clan, Tsunanori Maeda, who apparently urged in-house actors to change to the Hōshō School, under the influence of the school's patron, the then shogun, Tsunayoshi Tokugawa.

In recent years, Hideo Kanze is an example of an actor who changed to a different school for his own reasons. The son of Tetsunojō Kanze, Hideo said, “I was attracted by the Kita School’s method of building the body.” Although he had trained continuously since early childhood, Hideo changed school at the age of 22 (he later returned to the Kanze School). He also became active as a director and actor in many fields outside the world of Noh, developing a deep interest in modern drama and opera.

Another case was Masanori Kusukawa, an actor of the Kongō School who studied under Ukyō Kongō but changed to the Kanze School shortly after World War II. Meanwhile, it is common for people born to families of Noh musicians or kyōgen actors to be become leading actors.

For families of leading actors with no successors, it is traditional for a child to be adopted from another family in a different school, such as from the Kanze to the Hōshō, or vice-versa. Such cases may be seen as changes to different schools, but they are done solely to prevent the loss of a school. This is an expression of mutual cooperation among Noh actors.

(October. 7 2015)

Question 134 | Question 136

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• Question 154Who was the rival of Kan’ami and Zeami?
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• Question 149Was there a Noh stage in Edo Castle?
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• Question 132What role does the fan play in Noh performance?
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• Question 110Does each school have its own design patterns for the fans?
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• Question 108What role did koutai play in terakoya in the Edo period?
• Question 107Do the costumes vary with the pieces being performed?
• Question 106Does the term "shibai" come from Noh?
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• Question 102What kind of people partonized Noh performers in the Warring States period?
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• Question 93When did overseas Noh performances begin?
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• Question 90Does the Noh stage have a flat surface?
• Question 89Are the Japanese socks specially designed for the Noh performance?
• Question 88Are Noh performers all-rounders?
• Question 87Are there any solo performances by Noh musicians?
• Question 86Why go to su-utai?
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• Question 80What kind of place is the setting for Utou?
• Question 79Is an ad lib a result of the performance?
• Question 78Is there a play in which the audience takes a part?
• Question 77Why do actors stand still for such a long time?
• Question 76What is the voice from behind the curtain?
• Question 75How many plays are performed?
• Question 74Do actors always change their costumes at the same moment?
• Question 73Why do musicians call out?
• Question 72What are the basic sounds of the small tabor?
• Question 71Is a drum always involved in the music?
• Question 70How much preparation time is needed for the large tabor?
• Question 69How many times does the call bell ring?
• Question 68What is the basic tone in Noh music?
• Question 67What does "komi" mean in the Noh world?
• Question 66Who is watched at the beginning of the performance?
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• Question 64How many fue (flutes) does a fuekata (flute player) have in a lifetime?
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• Question 62Is there a third passageway in on a Noh stage?
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• Question 41Is haori half-coat not used on the Noh stage?
• Question 40What is the difference of “noh-kan” (Noh flutes) from other flutes or pipes?
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• Question 35Is there any special technique in making female masks?
• Question 34How do you operate the entrance curtain?
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• Question 31When did kagami-ita, the symbol of the Noh theatre, first appear?
• Question 30In what period did books of Noh chants become popular publications?
• Question 29Is Takigi-noh performed even if it rains?
• Question 28What is Hakama-noh?
• Question 27What kind of hair is used on noh masks?
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• Question 24Is there any special aspect in a Noh actor's folding fan?
• Question 23Do actors ever fall from the stage?
• Question 22How heavy is a Noh costume?
• Question 21Which Noh stages are designated as national treasures?
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• Question 19Is it true that Noh music does not have definite tonality?
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• Question 10Is hand clapping necessary for Noh programs?
• Question 9Why are Noh performers still active in their seventies?
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