Noh Performance Space as Open-air Theaters and Open Spaces

Abstract

About 100 years have passed since Japan introduced European style parks. Before that time, the outer areas and green spaces of Shinto Shrines and Buddhist temples played the role of parks. While most funeral services were held in temples, festivals were held in the precincts of shrines. It is to be noted that Kaguras and Nohs were also played in shrine precincts.
There are many artistic gardens dedicated to meditation in temples, whereas parts of the shrine precincts are uniquely spaces for performance and enjoyment, and are occasionally used as market places. The investigation of such spaces and to compare them with open-air theaters and public squares in Europe would have a different meaning than to compare the classical gardens of the East and West, but would be useful in the study of new open-air theaters. Creating a new open space can mean the induction of new dramas. It would be extremely meaningful in devising the styles of open spaces, parks and open-air markets for performances and enjoyment.
This study was started by examining spaces in Japan and Europe where performances, dances and music are presented and collecting data there. I then chose Noh performance spaces in representative areas of Japan and made a detailed surveys of them. These spaces are mainly in Honshu, and include the Hakusanjinja Shrine in Hiraizumi in th Tohoku district, the Kamakuragu Shrine in the Kanto district, the Ujijinja Shrine in the Kansai district, and the Iminomiyajinja Shrine in Shimonoseki-city in the Chugoku district.
On the side of Japan Sea, I paid special attention to Sado Island where 40% of the Noh performance space is located. On this island, I chose the Daizenjinja Shrine and the Honma family as they are most representative.
In my research I used aerial photographs (1/1000 to 1/2000) and made rough sketches of buildings, trees, etc. and measured them on the spot for correction. Regarding the trees which surround the performance spaces, I checked their species names locations and sizes and prepared a list and drawings to determine their effect of the spaces.
All the Noh performance spaces surveyed are surrounded by trees. The space structure of open-air theaters in Japan, where there was no law of perspective, is small in scale when compared with those of Greece and Rome. It is difficult to see distant views from Japanese theaters as is the case with Greek theaters, and also they have no magnificent walls as do Roman theaters. Since these comparatively small spaces are surrounded by trees, Japanese open-air theaters are best suited to the Noh atmosphere. The stage is designed in such a way that it is slightly looked up at, rather than looked down at.
As regards the layout of buildings, there is something like an axis, but it is freely related with the performance space. This is where Japanese open-air theaters differ from their European counterparts where, after the Renaissance, the law of perspective was applied.
Regarding trees, Cryptomeria japonicas and Pinus densifloras are symbolic in the north, and Cinnamomum camphoras are symbolic or spaces are surrounded by mixed forest in the southwest. At any rate, they do not plant trees in formal design.
I would like to recognize the differences between the Japanese and European traditional spaces and wish to use it as material for new creation.