No
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No,
symbol for the element nobeliumnobelium, artificially produced radioactive chemical element; symbol No; at. no. 102; mass no. of most stable isotope 259; m.p. 827°C;; b.p. and density unknown; valence +2, +3. It is a metal of the actinide series in Group 3 of the periodic table.
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No
(nō), lake, N South Sudan, in the swampy SuddSudd, swampy region, c.200 mi (320 km) long, and c.150 mi (240 km) wide, central South Sudan, E central Africa. It is fed by the Bahr el Jebel, the Bahr el Ghazal, and the Bahr el Arab, headwaters of the Nile.
..... Click the link for more information. region. It is formed by the floodwaters of the White NileWhite Nile,
river, one of the chief tributaries of the Nile, E Africa. The name is sometimes used for the 600 mi (970 km) long section of the river known as the Bahr el Abiad that extends upstream from Khartoum to the junction of the Bahr el Jebel and the Bahr el Ghazal at Lake
..... Click the link for more information. and varies in size seasonally. Its maximum area is c.40 sq mi (100 sq km). Much papyrus grows in the lake.
No:
see Asian dramaAsian drama,dramatic works produced in the East. Of the three major Asian dramas—Sanskrit, Chinese, Japanese—the oldest is Sanskrit, although the dates of its origin are uncertain.
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No
(also noh, nogaku), a genre of Japanese traditional theater. Originally a genre of Japanese folk theater, no later became a professional art. In the 14th and 15th centuries it developed into a form of theatrical entertainment for the feudal and military aristocracy.
A no presentation includes music, dance, and drama. Action is accompanied by an orchestra consisting of flutes and drums of various sizes and by a male chorus that takes an active part in the drama. No plays are presented on a square stage open on three sides, covered by a roof supported by four pillars. On the left side of the stage there is a platform (hashi-gakari), which leads into the wings. The actors make their entrances and exits on the platform, which is also sometimes used as a stage. Curtains and scenery are not used. Painted on the wall at the back of the stage is a spreading green pine tree on a field of gold. The orchestra and chorus perform on the stage, the orchestra along the back of the stage and the chorus along the right side.
No plays are based on themes from classical Japanese literature, historical chronicles, and Buddhist legends. They contain many monologues and reminiscences. The action is very drawn out, and there is little dramatic development and conflict. There are always two characters, the shite (the principal actor) and the waki (the secondary actor), who sometimes have companions, the tsure. The tsure have no independent functions. The shite and his companions appear in masks; the waki does not wear a mask. All roles are performed by men. No drama is based on two aesthetic concepts: monomane (imitation of reality) and yugen (inner meaning), which are expressed in the text, dance, music, and onstage movement.
A no presentation usually consists of five plays of varying character. Short, rather ordinary folk comedies, called kyogen, are performed between the plays as a contrast to the elegance and refinement of the main action. Makeup is not used. There is no facial mimicry: the faces of actors and members of the chorus remain motionless. The bright colors of the ornate costumes serve to “orchestrate” the performance.
The founders of the no theater were Kiyotsugu Kan’ami (mid-14th century) and his son Zeami (Seami) Motokiyo Kan’ami (14th to 15th centuries). Both were not only actors, playwrights, and creators of music and dances but also theorists who formulated the basic principles of the art of the no theater. Historically, five schools of no theater developed: the kanze, komparu, hosho, kongo, and kita.
In the 1960’s and early 1970’s the medieval structure of the no drama was still intact. No dramas are performed regularly, but they are intended for a restricted audience. For this reason, the no theater exists only through continued financial support from an association of admirers of the genre.
REFERENCES
Konrad, N. I. “Teatr No.” In O teatre. Leningrad, 1926.Tanaka Makoto. Nogaku-no kansho (Best Presentations of the No Genre). Tokyo, 1949.
Teatr i dramaturgiia Iaponii. Moscow, 1965.
Kawatake Shigetoshi. Nihon engeki zenshi (History of Japanese Theater). Tokyo, 1966.
L. D. GRISHELEVA