This research is a clarification of the process of modern transformations to auditorium of the Yasukuni-Shrine-Nohgakudoh and a consideration of the Noh theater's auditorium. It focuses on analyzing the types of seating and their measurements, the social classes of the audience, and the changes in seeing style.
To begin, this research has analyzed alterations to the seating area using the area's existing period 1 and period 2 floor plans. This consideration was based on the following five points: the number of seats in the seating area, the measurements of the seats, the number of seat rows, the number of aisles, and the number of steps. Firstly, it has been confirmed that the number of seats and seat rows, aisles, and steps in the seating area have increased, whilst the length and width of the seats has been reduced.
Next, the area divisions of the seating area were analyzed. The area divisions are presently divided into the following sections: ‘Syomen‘, ‘Waki-syomen’ and ‘jiura’. In the period 2 remodeling plans, it has been established that only ‘jyariba’ section was planned. It can be seen that each area division has mutual boundaries which have a distinct mechanism, resulting in this analysis focusing on the aisle arrangements. Furthermore, because the location of the stage exit has changed, it can be established that this is the main reason for the diagonal arrangement of the aisles from the noh stage.
However, because it was not clear why ‘jyariba’ section was planned in the above analysis, there is also a focus on analyzing the relationship between the seating measurements and the area divisions.
In the period 2 remodeling plans, there is a connection between the seat measurements and the different area divisions, which is why ‘jyariba’ section was assigned the shortest seat length. Because the number of people per seat are influenced by the seat measurements, this prompted the stipulation of the number of people allowed into the performance.
The result of this was that, firstly, the number of people allowed per seat decreased from five people to four. There also began a tendency to not limit the upper class seating to only audience members from elite social classes.
These phenomena support the change in the aforementioned audience seating. Moreover, the introduction of individual seating further confirms the trend in the diversification of the types of audience. Consequently, there is a connection between the transformation of area divisions and the change in seat measurements, which was influenced by the decrease in the number of people allowed per seat.
The most important thing that is demonstrated in the above trend is that the number of steps and the expansion of aisles, together with the ideology of functionalism and the homogenization of viewing environments, shows there have been attempts to deal with the diversification of seeing style and the formation of area divisions according to minor changes in existing seating. This trend, by introducing modern facilities such as the proscenium arch and chair seating, makes evident that the homogenization of the entire auditorium of modern theater, but also establishes a turning point for the distinctive appearance of the Noh theater.
