<P> Studies on genealogy of the Noh actors in 14th century indicate they were members of families specialized in performing arts; they had performed various traditional performance arts for many generations . Sociological research by Yukio Hattori reveals that the Konparu School (ja: 金春流), arguably the oldest school of Noh, is a descendant of Mimashi (味 摩 之), the performer who introduced gigaku, now - extinct masked drama - dance performance, into Japan from Kudara Kingdom in 612 . </P> <P> Another theory by Shinhachiro Matsumoto suggests Noh originated from outcastes struggling to claim higher social status by catering to those in power, namely the new ruling samurai class of the time . The transferral of the shogunate from Kamakura to Kyoto at the beginning of Muromachi period marked the increasing power of the samurai class and strengthened the relationship between the shogunate and the court . As Noh became the shogun's favorite art form, Noh was able to become a courtly art form through this newly formed relationship . In 14th century, with strong support and patronage from shōgun Ashikaga Yoshimitsu, Zeami was able to establish Noh as the most prominent theatre art form of the time . </P> <P> Kan'ami Kiyotsugu and his son Zeami Motokiyo brought Noh to what is essentially its present - day form during the Muromachi period (1336 to 1573). Kan'ami was a renowned actor with great versatility fulfilling roles from graceful women and 12 - year - old boys to strong adult males . When Kan'ami first presented his work to 17 - year - old Ashikaga Yoshimitsu, Zeami was a child actor in his play, around age 12 . Yoshimitsu fell in love with Zeami and his position of favor at court caused Noh to be performed frequently for Yoshimitsu thereafter . </P> <P> During the Edo period Noh continued to be aristocratic art form supported by the shogun, the feudal lords (daimyōs), as well as wealthy and sophisticated commoners . While kabuki and joruri popular to the middle class focused on new and experimental entertainment, Noh strived to preserve its established high standards and historic authenticity and remained mostly unchanged throughout the era . To capture the essence of performances given by great masters, every detail in movements and positions was reproduced by others, generally resulting in an increasingly slow, ceremonial tempo over time . </P>

The most important figure in the history of japanese nō theatre is