The following list of figures refers only to those appearing in the objects studied and analyzed within the collection; it is not an exhaustive list:
Hannya: probably the most well-known mask in nō theatre. Hannya represents the female demonic spirit generated by jealousy and obsession; it is an extremely vengeful figure. This mask appears in plays such as Aoi no Ue, Dōjōji, and Momijigari. It is characterized by an open mouth in a terrifying grin, wide eyes, furrowed brows, and horns; at the same time, however, it seems to plead for help and compassion. Occasionally, a few strands of hair can be seen falling untidily across the forehead.
Hyottoko: a folkloric mask representing a comic figure, often associated with Okame, its female counterpart. Its distinctive feature is the tube-shaped, slightly crooked mouth; it may have both eyes wide open, or one open and one closed.
Okame: with her narrow eyes and round, smiling face, she expresses benevolence and prosperity. She is also known by the name Oto, associated with kyōgen theatre, where the mask is used for roles of unattractive women. In Edo-period folkloric performances, she often appears paired with Hyottoko, and actors wearing these masks perform humorous episodes on such occasions. It is also said that, in the past, there were itinerant storytellers who wore this mask. In folkloric performances, the Okame mask is also used for the role of the goddess Uzume, within the context of kagura, the Shintō dance tradition. Uzume also plays a fundamental role in the creation of theatre: the dance she performed in front of the Heavenly Cave, in which the goddess Amaterasu had hidden herself, is traditionally considered the original act of the performing arts in Japan. It is no coincidence that Zeami Motokiyo (14th–15th century), founder of nō theatre as we know it today, in the Fūshikaden (a treatise on nō), includes among the possible origins of nō theatre the famous “cave episode.”
Okina: one of the three elderly figures who perform in the homonymous nō play. The actor wears the white mask called Hakushi jō, characterized by facial wrinkles, a moustache, and a beard on the chin. A distinctive feature is the movable jaw, which is separate from the rest of the mask and held in place by cords attached at the sides of the mouth. The figure is also recognizable by the okina eboshi, and dances holding a fan.
Sanbasō: one of the three performers who dance in Okina, played by a kyōgen actor. He wears a black old-man mask (in contrast to Okina’s white mask), called Kokushiki jō, and the characteristic kensaki eboshi (a tall hat ending in three points, forming a triangular shape, and decorated with horizontal lines along its surface). He wears a hitatare (a long-sleeved garment typical of military attire) and komi ōkuchi (a type of trousers with a gathered opening) and holds a fan. The dance of Sanbasō was part of the shikisanban program (the three rites), which included a series of ritual dances representing three elderly men: Chichi no jō (later lost from the nō repertoire), Okina, and Sanbasō; these three elderly figures were seen as manifestations of the divine. Sanbasō’s dance and chant are devoted to wishing for a good harvest, and the performance is divided into two sections: the first, called momi no dan, is lively and dynamic, characterized by stamping on the stage, and the actor does not yet wear the mask; in the second, the suzu no dan, he puts on the mask and dances with bells.
Senzai: one of the three performers who dance in Okina, played by a young actor. He wears typical samurai attire: a samurai eboshi (characterized by a folded portion of the headgear), hitatare, and ōkuchi (wide-legged trousers), along with a sword at his waist and a fan. He performs the Senzai no mai (the dance of Senzai), a prelude to Okina. It is a lively dance accompanied by three kotsuzumi (small drums) and a flute, during which the menbako mochi enters the stage carrying the box containing Okina’s mask.
Shirabyōshi: female performers who were particularly successful between the late Heian and Kamakura periods (11th–13th centuries). They were distinguished by an energetic and dynamic style of dance, characterized by repeated stamping on the stage, and by a probably monotone chant based more on rhythm than melody. They wore male attire: suikan (a type of outer robe made from a single piece with openings at the shoulders and two rounded elements at the front) or hitatare, ōkuchi, tate eboshi (a tall headgear, which could be black or gold), along with a sword and a fan. Their accompanying instrument was the drum, the tsuzumi.
Shōjō: a popular Japanese yōkai (supernatural creature) of Chinese origin. The term “shōjō” is associated with the primate known as the “orangutan,” and indeed one can find similarities between this animal and the way this being is depicted: a red face and dishevelled red hair, a love of sake, that dwells near the sea or along rivers. It is represented as a being with human features and a youthful appearance and demeanour. Because of its fondness for alcohol, in the past it was also considered the spirit of sake. Shōjō is also the title of a nō play.