Abandoning some of the more traditional traits of Japanese Noh, American Noh accepts the practice of stylized movements of the hands and feet, but builds upon them to create a hybridization of Noh found only in the West. Pulling from the rich stylized techniques of the Japanese Theatre, American Noh seeks to incorporate the training and movement found within the teachings of Tadashi Suzuki. Considered one of the greatest modern theatre practitioners within the world of movement training, Suzuki pulled from the Japanese theatre tradition of Noh to investigate how the movement of feet and bodily gestures connected to the illusion of reality.
In addition the methods of Suzuki, the Expressionist dance movement also influences American Noh. This form of dance, developed in Germany during the expressionist movement, provides a different and visible vehicle to connect the performers bodies with the intense and emotional worlds and characters provided by traditional stories. These movements offer the performers with the ability to experiment and explore the different realms surrounding them.
On top of the physicality of the actors, these concepts are also interwoven through the different components of the production. From the costumes to the use of Japanese Shakuhachi Flute music, the elements chosen provide American Noh Theatre with an artistic and dramatic complexity. The elements of performance and production blend to create a truly unique theatrical experience known as American Noh Theatre.