Mayuko Kashiwazaki, donned in a kimono, showcases her acting prowess in the lead role of a Japanese Noh play, where, unusually, the majority of the cast is comprised of women. Noh, a classical form of Japanese theatre dating back to the eighth century, has traditionally been dominated by male performers, making the inclusion of women a rarity.
Despite its ancient roots, Noh has been open to performers of both genders for over a century. However, women still constitute only 15 percent of the registered actors and musicians in the professional Nohgaku Performers’ Association. Opportunities for women on the Noh stage remain relatively limited, often due to perceptions of Noh as a masculine art form.
Mayuko Kashiwazaki, the lead actor in the play “Dojoji,” believes it is time for women to actively shape the future of Noh. In a recent production at Tokyo’s National Noh Theatre, she played the principal role in a drama revolving around the revenge of a betrayed woman. Encouraged by her Noh mentor, Kashiwazaki sought to involve as many women as possible in the production, breaking the mold of traditional Noh performances.
While Noh has been recognized by UNESCO as “intangible cultural heritage,” the inclusion of women has been a slow and challenging process. Women were banned from the Noh stage during the Edo era, only regaining the right to perform in 1948. Kashiwazaki believes that expanding opportunities for women in Noh is essential to break the “vicious cycle” hindering their career progression.
The recent all-female cast in a Noh production has garnered attention and excitement, with some audience members expressing optimism about it being a potential glimpse into the future of Noh in Japan.
