is a form of traditional Japanese comic theater. It developed alongside Noh, was performed along with Noh as an intermission of sorts between Noh acts on the same stage, and retains close links to Noh in the modern day; therefore, it is sometimes designated Noh-kyōgen. Its contents are nevertheless not at all similar to the formal, symbolic, and solemn Noh theater; kyōgen is a comic form, and its primary goal is to make its audience laugh. Kyōgen together with Noh is part of Nōgaku theatre. Kyōgen is sometimes compared to the Italian comic form of commedia dell'arte, which developed around the same period (14th century) and likewise features stock characters. It also has parallels with the Greek satyr play, a short, comical play performed between tragedies. History One of the oldest ancestors of kyogen is considered to be a comical mimicry, which was one of the arts constituting Sangaku (:ja:散楽), and Sangaku was introduced to Japan from China in the Nara period in the 8th century. In the Heian period (794－1185), sangaku developed into sarugaku by merging with Japanese traditional performing arts such as dengaku, and in the Kamakura period (1185－1333), it was divided into Noh, which was a drama of serious singing and dancing, and kyogen, which was a comical speech and play. When Kan'ami and Zeami completed Noh in the style known today in the early Muromachi period (1333－1573) in the 14th century, Kyōgen was a simple and comical short play different from the style known today, and performers of kyōgen were under the control of a Noh troupe. In the late Muromachi period, kyōgen as a form of theater was developed and the Ōkura school was established by kyōgen performers. In the Edo period (1606－1868), Sagi school and Izumi school were established. Since the Tokugawa shogunate designated kyōgen and Noh as ceremonial arts in the Edo period, kyōgen performers of these three schools were employed by the Tokugawa shogunate, each daimyō (feudal lord) and the Imperial Court, and kyōgen also developed greatly. Kyōgen provided a major influence on the later development of kabuki theater. After the earlier, more ribald forms of kabuki had been outlawed in the mid-17th century, the government permitted the establishment of the new yarō-kabuki (men's kabuki) only on the grounds that it refrain from the previous kabuki forms' lewdness and instead model itself after kyōgen. Noh had been the official entertainment form of