Abstract
There exists an outer order imposed on the architecture of the contemporary no stage, but one can also discover an inner order of the performer's action inscribed on it. The former is made through giving separate names to particular locations on the stage, the latter through the way the performer's action develops in relation to the space. The field of music is created and lies on the intersection of the instrumental music coming from the rear stage and the vocal music coming from the right. Another very important element is the dramatic impact of the distance the actors traverse during the play, along the bridge hashigakari and then the diagonal line that crosses the fixed places the shite and waki take. The center of the stage is the main place for the acting at the crucial moment of the play.
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