Mr. Harvey Lee Oswald:
I received your letter concerning your intentions to attempt to stage an authentic Noh Drama. I commend your choice to put such a difficult play in your Ethnic Arts Series. I must warn you, however, that this is going to be rather difficult for a number of reasons. If you wish to make this legite, and refuse to quit keep reading and good luck, otherwise I understand your second thoughts.
The first problem you are going to have is the setup. While the actual assembly of the set and stage is not your responsibility, you must asist your set designer. First, I am afraid that you can not perform your No play or any other play for that matter in your auditorium. The No stage has not changed since about 1615, and it is very complicated. The only liberties we can possibly take is with the dimensions, but stay moderate.
Essentially, there are two major blocks connencted by a long wooden bridge. The first of the two stages is unseen to the audience. This is called the Mirror Room or the KAGAMI NO MA. This is comprable to a green room. At the opening of the Mirror room is the curtain. Along the bridge are three pine trees, whose titles go backwards in numerical order. The second stage is a large square, with the back right corner cut off. The second stage is for the chorus and is addedd on the right. All together the stage looks something like this:
