Dr.Handa explained about "jo", "ha" and "kyu" in the noh play

 Before the noh performance began, Dr.Handa gave an hour-long lecture on the three key points of noh.

 The first point is that the noh performance is an art of simplification and symbolism.
 He said, "It is the origin of kabuki and classical Japanese dance, but it is more contained and plainer than any other theatrical arts."

 Generally in the noh play, except the costume worn by the shite (lead actor),  there are no exagerrated movements and no ostentatious expression of feelings or showy costumes.
 Among others, simplisity can be found in the masks worn by shite actors. A shite wears only one and the same mask throughout the play. The actors express feelings by a subtle movement of the mask: the face appears happy when the mask is looking up, and sad when looking down. 
 Such facial expressions are also supplemented by body movement, while the tone of voice represents the character's feelings.

 The second point is that there are three kinds of rhythm, namely "jo", "ha" and "kyu" in the noh play.
”jo", "ha" and "kyu" mean 'beginning', 'breaking' and 'fast' each. 

 Stories of noh generally start with a slow pace, and then get faster toward the end. He said, "This rhythm is found even withing a song." That is why the songs in noh are not monotonous, but have highs and lows. 

 The third point is that noh actors have to be able to play any role, whether is is an old man or young lady, monster or goddess, just by changing the mask according to the story. 

 He said, "When a skilled noh performer is playing the role of a princess, he looks and sounds like a princess and nothing else, even if his voice is actually deep and hoarse. It is fascinating."

International Foundation for Atrs and Culture Chairman Dr.Haruhisa Handa 

gave an hour-long lecture on the three key points of noh play. 

IFAC

(source: THE JAPAN TIMES, October 6, 2018）