Form of the Plays

The Zeami/Yokomichi model is a reference rather than an absolute, since few plays follow it exactly. Hashitomi and Kokaji’s form underlines this point, since both deviate from it somewhat.

In the following two figures, the section's name is linked to the beginning of that section within the play, while the shōdan are linked to their respective intermedia analysis. Not shown in the model but present in both plays is the kyōgen interlude. This is often performed between the two acts but there are no shōdan associated with it.

Takasago

This figure summarizes the formal structure of Takasago. It follows the conventional two-part structure of Noh, associated with Zeami and later formalized analytically by Yokomichi. Yet it transforms the usual mugen Noh pattern of concealed identity and revelation into a waki Noh celebration, with the dialogue omitted from the second act. Its unity is symbolic and ritual rather than suspenseful: the play leads not to the discovery of a tragic past but to the public manifestation of harmony and divine favor.

Act 1 (mae ba)
Waki enters	Shite enters	Dialogue	Shite performs	Shite exits
Netori Okitsuzumi Kaikō Nanori Shidai chant Michiyuki Tsuki-zerifu	Shin no Issei music Shin no issei chant Sashi 1 Sageuta Ageuta 1	Mondō Kakeai Ageuta 2 Dialogue	Kuri Sashi 2 Kuse	Rongi 1

Act 2 (nochi ba)
Waki waits	Shite re-enters	Shite performs	Shite exits
Machiutai	Deha	Sashi 3 Jō no ei Issei chant Kamimai	Rongi 2

Hashitomi

This figure summarizes Hashitomi's form. It differs from Zeami/Yokomichi model primarily because of the missing ‘Shite Performs’ section in the first act, a difference that is not unique to Hashitomi.

Act 1 (mae ba)
Waki Enters	Shite Enters	Dialogue	Shite Performs	Shite Exits
Nanoribue Nanori Kakaru 1	Ashirai Song	Kakeai	–	Kakaru 2 Ageuta 1

Act 2 (nochi ba)
Waki Waits	Shite Re-enters	Dialogue	Shite Performs	Shite Exits
Kakaru 3	Issei Sageuta Ageuta 2	Rongi	Kuse Jonomai	Waka Kiri

Kokaji

The figure below summarizes Kokaji's form. It differs from Zeami/Yokomichi because of the missing 'Shite Enters' dan in the first act and the ‘Dialogue’ dan in the second. Neither absence is unusual. The actual appearance of the first-act shite happens at the beginning of the 'Dialogue' dan.

Act 1 (mae ba)
Waki Enters	Shite Enters	Dialogue	Shite Performs	Shite Exits
Nanori Mondō 1 Ageuta 1 Dialogue Monologue	–	Mondō 2 Ageuta 2	Kuri Sashi Kuse	Kakeai 1 Ageuta 3 Raijo

Act 2 (nochi ba)
Waki Waits	Shite Re-enters	Dialogue	Shite Performs	Shite Exits
Notto Noriji 1	Hayafue	–	Noriji 2 Maibataraki Noriji 3	Kakeai 2 Kiri

Okina

They say that “Okina is Noh, yet not Noh.” This reflects its unique nature: it lacks a plot, a conventional waki–shite dramatic encounter, and a concealed identity revealed in a second act. Consequently, its structure does not fit neatly within established analytical models, such as that of Yokomichi.

Inspired by the work of folklorist Yasuji Honda, we can see Okina’s form as a mirrored structure built on contrast. It consists of two main acts: Okina (White Mask), led by a Noh shite, and Sanbasō (Black Mask), led by a Kyōgen actor. The performance opens with an introductory section, which we have titled Invocation.

Invocation
Procession	Introduction song
Okina-watari Zatsuki-bue	Shiku-no-kamiuta

This is followed by the first act, Okina–White Mask, which unfolds in four parts: Senzai’s purification dance, the Okina Encounter, Okina’s performance of prayer and dance, and Okina’s exit. A similar structure is repeated in the final act, Sanbasō-Black Mask, but the expression is radically different. While the first act is defined by the solemn, refined dance and quiet prayers of the Noh actor, the second unleashes the vigorous, primal, and unpredictable energy of the Kyōgen performer. This contrast is so stark that the Sanbasō act can be seen as a form of sacred parody, taking on an almost comical tone through its exaggerated power.

Okina—White Mask
Senzai performs	Okina encounter	Okina performs	Exit
Senzai song Senzai-no-mai Senzai song Senzai-no-mai	Okina encounter	Okina prayer Response to Okina Okina prayer Okina song Okina-no-mai Okina song	Okina-gaeri

Sanbasō—Black Mask
Kyōgen performs	Sanbasō encounter	Sanbasō performs	Exit
Momidashi Mominodan Putting on the mask	Mondō	Suzunodan	Taking off the mask

For this performance, a special Furyū section was inserted between the two contrasting acts. This interlude cleverly mimics the format of a typical Noh play—with the entrance of a waki, the entrance of a shite, a dialogue, and a final dance. The crucial distinction, however, is that all roles within the Furyū are performed by Kyōgen actors, infusing the traditional structure with their unique theatrical energy.

Furyū
Furyūsenzai (= waki) enters	Furyū (= shite) enter	Dialogue	Furyū (= shite) perform
Watari-byōshi Noriji Nanori	Issei music Issei chant	Mondō	Noriji