Although Noh is the most pre-eminent theatrical art in Japan, and has a history of six hundred years, no theoretical treatment of its stage lighting has been attemptcd Neadless to say, as original theatres of every country started in open air. Noh stages were illuminated with day light.
Prof. Matsumoto, Nihon Univ., discovered that Noh programme in a day has been set considering natural day light variations, and the standard form of the programme arrangement of five plays in a day was estadlished and is kept till now.
Prof. Matsumoto made some errors in his theory. But it is of great importance that he discovered and recognized the lighting effects on Noh plays.
On the other hand, the fundamental requirements of Noh stage lighting are determined by researching the substaces of Noh, such as.
1. Diffused light, projected from 45°C up-front.
2. White light which produces the correct color effects of costumes.
3. Uniform distribution on the stage:
Such requirements, and the demand of lighting effects which Prof. Matsumoto mentioned, can not aiways be satisfied by natural day light. They can be achieved only by artificial light properly treated.
Recently almost all Noh stages, including auditoriums, are built up in units i. e. both have common roofs, and moreover stages have their own roofs designed in the old style.
First of all, the traditional idea that a roof is required under a roof should be thrown away to produce the satisfactory lighting effects.
The author proposes a project of Noh theatre and arrangements of light sources which enable lighting effects to meet fundamental substances of Noh production and varieties that producers would attempt in the future.
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