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The convention of wearing black to imply that the wearer is invisible on stage is a central element in bunraku puppet theatre as well. Kuroko will wear white or blue in order to blend in with the background in a scene set, for example, in a snowstorm, or at sea, in which case they are referred to as "Yukigo" (雪衣, snow clad) or "Namigo" (波衣, wave clad) respectively.
Features mime, slapstick, and dialogue in a relatively colloquial Japanese language. Kyogen masks 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
Masks of any type are called tal (Korean: 탈) in Korean, but they are also known by many others names such as gamyeon, gwangdae, chorani, talbak and talbagaji. Korean masks come with black cloth attached to the sides of the mask designed to cover the back of the head and also to simulate black hair.
Kyoto geisha Toshimana holding a Nōh mask, wearing full make-up and a katsura (wig). Oshiroi (白粉) is a powder foundation traditionally used by kabuki actors, geisha and their apprentices. The word is written with kanji meaning "white powder", and is pronounced as the word for white (shiroi) with the honorific prefix o-.
The individual kanji that make up the word kabuki can be read as 'sing' (歌), 'dance' (舞), and 'skill' (伎). Kabuki is therefore sometimes translated as 'the art of singing and dancing'. These are, however, ateji characters which do not reflect actual etymology. The kanji of 'skill' generally refers to a performer in kabuki theatre.
Japanese Nanatsumen (七つ面) is a play in the Kabuki repertoire, and one of the celebrated Kabuki Jūhachiban ("Eighteen Great Plays"). The play is known in English as The Seven Masks .
The twelve masks of the Hahoetal represent the characters needed to perform all the roles in the Hahoe pyolsin-gut. Of the twelve original masks, nine remain and are counted among the national treasures of Korea. Each mask has a unique set of design characteristics to portray the full range needed in the representation of these stock characters.
The masks are worn throughout very long performances and are consequently very light. The nō mask is the supreme achievement of Japanese mask-making. Nō masks represent gods, men, women, madmen and devils, and each category has many sub-divisions. Kyōgen are short farces with their own masks, and accompany the tragic nō plays.