stock characters. Notable ones include , , and . Movements and dialogue in kyōgen are typically very exaggerated, making the action of the play easy to understand. Elements of slapstick or satire are present in most kyōgen plays. Some plays are parodies of actual Buddhist or Shinto religious rituals; others are shorter, more lively, simplified versions of Noh plays, many of which are derived from folktales. As with Noh, jo-ha-kyū is a fundamental principle, which is particularly relevant for movement. As with Noh and kabuki, all kyōgen actors, including those in female roles, are men. Female roles are indicated by a particular piece of attire, a – a long white sash, wrapped around the head, with the ends hanging down the front of the body and tucked into the belt, like symbolic braids; at the two points (either side of the head) where the sash changes from being wrapped around to hanging down, the sash sticks up, like two small horns. Similarly, actors play roles regardless of age – an old man may play the role of Tarō kaja opposite a young man playing master, for instance. Costumes Outfits are generally kamishimo (Edo period outfit consisting of kataginu top and hakama pants), with the master (if present) generally wearing nagabakama (long, trailing pants). Actors in kyōgen, unlike those in Noh, typically do not wear masks, unless the role is that of an animal (such as a tanuki or kitsune), or that of a god. Consequently, the masks of kyōgen are less numerous in variety than Noh masks. Both masks and costumes are simpler than those characteristic of Noh. Few props are used, and minimal or no stage sets. As with Noh, a fan is a common accessory. Language The language in kyōgen depends on the period, but much of the classic repertoire is in Early Modern Japanese, reasonably analogous to Early Modern English (as in Shakespeare). The language is largely understandable to contemporary Japanese speakers, but sounds archaic, with pervasive use of the form rather than the form that is now used (see copula: Japanese). For example, when acknowledging a command, Tarō kaja often replies with , which in modern Japanese one uses . Further, some of the words and nuances cannot be understood by modern audience (without notes), as in Shakespeare. This contrasts with Noh, where the language is more difficult and generally not understandable to a contemporary audience.