kyogenn.

1871 A. B. Mitford Tales Old Japan I. 164 The classical severity of the Nô is relieved by the introduction between the pieces of light farces called Kiyôgen.

1899 W. G. Aston Hist. Japanese Lit. V. iii. 213 The Kiōgen (madwords) are to the Nō what farce is to the regular drama. They are performed on the same stage in the intervals between the more serious pieces.

1911 Encycl. Brit. XV. 170 The Kyōgen needs no elaborate description; it is pure farce, never immodest or vulgar.

1951 Oxf. Compan. Theatre 411/2 The language of the kyōgen or comic interludes which accompany their performance is the vernacular of the second half of the sixteenth century.

1958 Spectator 3 Jan. 24/3 The typical No juxtaposition of bleak tragedy and witty comedy (which in the traditional No is split into separate but consecutively performed plays—the No play proper followed by the kyogen).

1964 W. G. Raffé Dict. Dance 353/2 They [sc. Noh plays] range..from romantic themes (katsuramono) to farce (kyogen).

1970 Daily Tel. 16 May 9/4 The two No pieces were separated by a kyogen (farce) about a melon thief, acted and danced with delightful joviality.

1973 Times 5 June 8/8 Following the usual custom, the two main pieces are sandwiched round a kyogen farce; this one about two lords who unload their swords on to a passer-by who then puts them through some undignified games before making off with their weapons and their clothes.