waki

Waki is a term used in traditional Japanese Noh theatre to denote the secondary role and the actor who plays it. The word comes from the kanji 脇, meaning “side” or “flank,” reflecting the waki’s function as auxiliary to the main actor, the shite. In most plays the waki appears as a human figure—often a traveling priest or monk, a scholar, or a companion to the shite.

The waki’s primary purpose is to establish time, place, and backstory, and to provide a rational counterpoint or foil to the shite’s heightened or supernatural persona. Through dialogue and ritual actions, the waki guides the audience’s understanding of the narrative, often initiating the dramatic tension and prompting the shite’s revelations. The relationship between shite and waki is a core dyad of a Noh play, with the waki usually appearing early and sustaining exchanges that frame the central mystery or emotion of the work. Waki lines tend to be more grounded, while the shite’s lines carry the poetic and symbolic load.

In performance, the waki is typically performed by an actor who may or may not use a mask, depending on the role and play tradition; masking conventions vary by school and play. Outside Noh, waki is also a general Japanese term derived from 脇 meaning “side” or “auxiliary,” used in compounds to indicate supporting roles or side elements in theatre and other contexts. Overall, the waki is a formal, structural element of Noh dramaturgy, serving to illuminate the shite’s character and drive the narrative forward in a disciplined, ceremonial manner.