In many respects the Nō resembled the Greek drama. First of all, there was the combination of text, music and dance. Secondly, both theatres used a chorus, although in the Nō the chorus never takes any part in the action, confining itself to recitations for the principal dancer when he is in the midst of his dance. Again, the Nō uses masks, as did the Greek drama, but their use is restricted to the principal dancer and his companions, especially when they take the parts of women. Mask-carving has been considered an important art in Japan, and together with the gorgeous costumes, the masks add much to the visual beauty of the Nō. In contrast, the scenery is barely sketched, consisting usually of no more than an impressionistic rendering of the main outlines of the objects portrayed. The music, at least to a Western listener, is not of great distinction, very rarely rising to the level of melody, and most often little more than an accentuation of the declaimed or intoned word. A flute is played at important moments in the play, and there are several drums, some of which can serve to heighten the tension of the audience. The actual theatres in which the Nō plays are performed are small. Their most striking features are the hashigakari, a raised passage-way leading from the actors’ dressing-room through the audience to the stage, and the square, polished-wood stage itself. The audience sits on three, or sometimes only two, sides of the stage, which is covered by a roof of its own like that of a temple. The actors make their entrances through the audience, but above them, and pronounce their first words before reaching the stage, an extremely effective way of introducing a character.
The performances in a Nō theatre last about six hours. Five Nō plays are presented in a programme, arranged as established in the sixteenth century. The first play is about the gods, the second about a warrior, the third about a woman, the fourth
