This research is an analysis of the auditorium of Noh theater in the Meiji Era through the study of the Shiba-noh-gakudoh. Current auditoriums for Noh theaters feature area divisions called Shomen and Waki-shomen. This feature does not exist in other modern theaters in Japan, which have been heavily influenced by Europeanism, and the reasons that lead to the auditorium being divided so have great meaning for shedding light on the existence of Japanese architecture's unique modernization. This research analyzed the reasons the area division within the auditorium of Shiba-noh-gakudoh developed through the divisions' relationship to the performance.
Firstly, we took four plans of the Shiba-noh-gakudoh and analyzed the date of each plan, establishing a history of renovations to the auditorium. When first built, the Shiba-noh-gakudoh adhered to the traditional layout of the early modern period (Figure 2) and featured a large shirasu between the stage and auditorium. Renovations in 1896 resulted in seats being added to the shirasu, and the auditorium changed into an L-shape which surrounds the stage. (Figure 4)
Secondly, we analyzed the stated number of seats within the auditorium as stated in the Shiba-noh-gakudoh's performance regulations. The theater's original capacity is estimated to be 400 people, this was then set to 720 people following the renovations in 1896. However, records showing that the venue hosted up to a maximum of 1300 people, depending on the type of performance, before 1896 have been confirmed showing that temporary seating was placed on the shirasu pre-renovation for performances with large audiences.
Lastly, we examined the seating order. Analysis of the seating plan (Figure 3) showed that the seating order was determined by its view of the stage, and the auditorium was segmented using this as the base criteria. The auditorium is made up of an area that responds to the Naka-shomen, while the Shomen and Waki-shomen are of the same rank, and possesses a similar character to the modern area divisions. The reason behind these divisions was the result of the standardization of differing performance regulations based on the social class of the audience, resulting in the venue changing from a social institution for the upper classes to a theater used by all.
Thus, although the area divisions were formed as a response to the diversification amongst social class of the theater's patrons, it is notable that the divisions were not a representation of the difference in status, but were based on the view of the stage from that area. This is a distinction that differs from Shoin and Kanjin-noh-theater from the pre-modern period, which were closely linked to the class system, and there we can see the modernization of Noh theater.
