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Noh masks signify the characters' gender, age, and social ranking, and by wearing masks the actors may portray youngsters, old men, female, or nonhuman (divine or demonic) characters. [ 23 ] : 13 Only the shite , the main actor, wears a mask in most plays, although the tsure may also wear a mask in some plays.
These masks, which represent the jealousy, resentment, and anger of female demons, are classified as jya (蛇, snake) masks. [3] It is said that there are now more than 250 types of Noh masks, but the oldest historical record of Noh masks, Sarugaku dangi , mentions only about 14 types of masks, and the name hannya is not found among them. [4]
Unlike Noh mask s, Kyogen masks are used primarily for non-human characters and comic roles, as most human characters perform unmasked to allow for more expressive facial reactions. Kyōgen Sakusha Professional kabuki playwrights (狂言作者) who emerged during the Genroku period as plays became more complex.
Bidou Yamaguchi (山口 毘堂, Yamaguchi Bidō), a master Noh mask carver in the Hōshō tradition, was born Yamaguchi Hiroki on February 28, 1970, in Fukuoka, Fukuoka, on the island of Kyūshū in Japan.
The Noh masks of the Konparu school are a set of 47 noh masks formerly owned by the famous Konparu family of noh actors and playwrights, now part of the collection of the Tokyo National Museum. These masks span five centuries, from the Muromachi to the Edo period (15th to 19th century), and are designated Important Cultural Properties .
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Onryō are used as subjects in various traditional Japanese performing arts such as Noh, Kabuki, and Rakugo; for example, hannya is a Noh mask representing a female onryō. [5] The Japanese people's reverence for onryō has been passed down to the present day.