Catalog of Shōdan: Spoken
Kakeai
The Kakeai, whose function is to move the plot forward, is an unaccompanied dialogue between the shite and the waki. However, it is sometimes accompanied by the two percussion instruments set in flexible mode. This is the case when it occurs between two energetic shōdan, and that the plot is already well established, as in Kokaji. Typically, Kakeai starts with prose delivered in kotoba, and concludes with unmetered sung verse with arhythmic text set in sashinori. Therefore, text corresponding to the switch of the mode of delivery is subtly emphasized. When unaccompanied, the singing mode in Kakeai gives more emphasis to words than the speech mode can.
In Noh, the spoken mode tends to be used for conversations between characters in their immediate present. This changes once a character starts singing (usually in sashinori). The switch may suggest that he may now be in a world of his own such as a dream, in a solitary space, or just sharing a monologue.
Between the two plays there are three Kakeai, one in Hashitomi and two in Kokaji. Hashitomi’s Kakeai is a typical example. It opens the first act’s Dialogue dan, and is performed by two actors without accompaniment. At this point in the play, the shite standing at the second pine on the bridge, has just completed his entrance chant. The waki kneeling at Square 5, performs a flower service for Buddha. It is in kotoba that he expresses his surprise when he notices a white flower he cannot name. The shite replies in singing mode rather than in kotoba, and identifies the flower as iugao. This emphasizes the flower’s name, an important clue to help reveal that the identity of the character played by the shite is possibly Lady Yūgao. The waki, staying in singing mode, asks the woman to identify herself. At this point, she switches back to kotoba to reaffirm her refusal to divulge her name but hints that she has come "from the flower’s shadow”.
Delivery in kotoba is recognizable by the declamation's rising tone, identified in the video with bold syllables. The switching point between the two modes can be identified by the introduction of the vibrato associated with the singing mode.
Both Kokaji's Kakeai are short, standing between two congruent shōdan, functioning essentially as bridges. In both cases, the two percussionists who perform in the adjacent shōdan, continue to play in the Kakeai, but switch from a strict rhythmic setting for the adjacent shōdan to flexible for the performance of the Kakeai.
Kokaji’s first Kakeai is performed by two protagonists accompanied by the two hand-percussion instruments. Positioned between two congruent shōdan set in hiranori : the Kuse and the third Ageuta, it opens the first act’s Shite Exits dan.
Kokaji’s second Kakeai is also performed by two protagonists accompanied by the two hand-percussion instruments. It opens the second act’s ‘Shite Exits’ part, and is positioned between two congruent shōdan: the third Noriji, set in ōnori, and the Kiri set mainly in chūnori.