A new beginning (a new website)

Finally, after more than 20 years, i registered a domain and paid for a wordpress package.

Now, and in the coming weeks and months i’ll seriously update and add-to this site, and attempt to link up all my other works, and collaborations from around the web.

Thanks for checking in. Please leave a note or any suggestions for inclusion. Write on.

–Steve Fly

 

Steve Fly and John Sinclair
Steve Fly and John Sinclair at Red Light Radio.

Cosmic Trigger audio book

The story behind RAW’s Cosmic Trigger Audio Book

posted by Rasa
Ever since I heard Ken Campbell reading Part One of Illuminatus! in the 2007 Deepleaf Audio production, I had the idea in my head that I’d love to hear an audio book of Cosmic Trigger, and Prometheus Rising, and, well, most of Bob’s books. It took some years for Christina to sort out her dad’s legal affairs enough that we could create Hilaritas Press, start republishing mosbunall of Bob’s books, and then begin thinking of creative ways to further Bob’s works and ideas. In early 2014, Daisy Campbell began to pull together the resources and diverse energies needed to pull the Cosmic Trigger and create her stage adaptation. The RAW Trust was in full support, and already thinking of how the production could one day be staged in Santa Cruz. While Daisy realized her inspired interpretation of Cosmic Trigger, we were creating HIlaritas Press and publishing Cosmic Trigger as our first RAW title.
Oliver Senton, narrator for the audio book, played Robert Anton Wilson in Daisy Campbell’s “Cosmic Trigger – The Play”
Watching video clips of the production led me to write an email to Daisy in March of 2016, asking her thoughts on making Cosmic Trigger into an audio book. Her response was enthusiastic, and she immediately said, “The best possible man for the audio job would be Oliver Senton who played Bob in the play.”
Oliver was equally enthusiastic. Before he went into the recording studio to begin the project, he wrote to Christina,
“I have a strong faith that your father’s works are going to grow and grow in popularity and appreciation in the coming years, and that this re-framing of them you’re currently undertaking can only accentuate that. Rereading Cosmic Trigger Part I recently has only reminded me of how much brilliant thought and “feeling good” there is there. Truly, his was a mighty heart.”
Christina and I were ecstatic – we had an amazing book and a great actor to narrate – now we only had to make the thing. Easier imagined than done, but the RAW community has a lot of talent. I asked Steve “fly agaric 23” Pratt if he might be able to lend a hand. Oliver knew Steve as the drummer in Daisy’s stage production of Cosmic Trigger. I knew Steve, from back in early 2012 when he approached the Trust about his RAW360 virtual reality project. Steve lives in Amsterdam, doing a wide array of creative projects, and working a lot in the last years with poet/activist John Sinclair. I put Steve in touch with Oliver, and since I was more than 5000 miles away, and Oliver and Steve only had the English Channel to deal with, I took a back seat. That was a great decision. I’m taking the same tack in writing this blog post and letting Steve and Oliver take over . . .
Steve writes . . .
“Pull It!”
Finally the final secret of the Illuminati is out in the air, the Cosmic Trigger audio book project comes 40 years after the book was penned by RAW, and with luck will inspire new generations to come.
The project reflects a labour-of-love on behalf of all involved, from the studio recording itself, through the fine tooth-comb editing, and preparations for the audio book launch. To repeat a popular phrase in Cosmic Trigger circles, ‘heroic’ – defines the project perfectly.
RAW often suggested (in his Finnegans Wake writings) that reading a text aloud can unlock what were once dormant meanings in the text. Along lines sketched out by Marshall McLuhan, RAW also propagated signals inferring that the medium defines the message, and listening to speech impacts differently on the brain-body system than reading text silently in your head. The ear world and the eye world and the interacting processes of all the senses together, produce a holistic experience in time. This audio book can literally open up new dimensions, inner and outer.
Oliver Sentons’ reading stamina and continued ability to keep the listener engrossed in the comprehensive text is a delight to behold. Rasa and Christina have given hundreds of hours and incurred considerable expenses in producing this audio book. I dearly hope you help share and spread the word far and wide, and consider buying this one of a kind, 8 hour Robert Anton Wilson audio trip. With your help and support we can start work on the audio book for Cosmic Trigger Volume II: Down to Earth.
Special thanks to Mark Sampson, Simon Reeves, Oliver Senton, Tom and Della Pratt, Scott Groves and to Hagbard Celine for the ill artwork, all RAW heads worldwide, and those who are about to hear the book. Hoo fasa.
“Pull it!”
– Steve “fly agaric 23” Pratt, April 23, 2017
And from Oliver . . .
Birmingham, the city in England, has always held a half-formed shape in my memory: my sister went to university there thirty years ago, and since then I’ve only passed through briefly, just changing trains or spending a night or two in standardised hotels. Where better to dive deep into the stream of R.A.Wilson’s thoughts and words; to attempt to capture his elusive, charming, ever-morphing wit.
Steve Fly and Mark Sampson installed me safely inside the rock bunker which is Framework Studios, with fruit and water, and shortly we were off, engineer Simon and me, with just a mike and constellations of ideas. I’ve been carrying some of those words in my head for a while (I play RAW in Daisy Campbell’s theatre adaptation of the books), but tackling the whole thing was a whole new challenge.
How do you recite a graph? How do you describe an illustration? Above all, how do you capture for so many paragraphs that deep, rolling, barely modulating tone that Wilson had, which carried his bright intelligence so clearly to so many?
After a while, a long while, talking as somebody else for so long, it’s impossible to tell how ‘accurate’ you are (whatever that may mean); it becomes more like a meditation than a performance – you disappear down the channel between your brain and the studio’s digital memory and hope for the best when you see the light at the other end.
My thanks to the gentlemen for looking after me (and to Steve’s mum and dad for giving me a bed); my respect and gratitude to the man who provided the RAW material. Whatever you think as you listen: believe nothing.
– Oliver Senton, April 23, 2017

Listen to an excerpt . . .

00:00
00:00

excerpt: Multiple Realities chapter

Written by Robert Anton Wilson
Narrated by Oliver Senton
Recorded and mastered by Simon Reeves at Framework Studios (September, 2016)
Edited by Simon Reeves and Steve “fly agaric 23” Pratt
Cover art by amoeba
Co-producers: Mark Sampson (Iron Man Records) & Steve “fly agaric 23” Pratt
Executive Producers: Richard Rasa & Christina Pearson
Special thanks to Mark Sampson for transport and logistics, and to Tom and Della at Broadmeadow for help with lodgings.
 

A note to Bob

Dear Bob,

the world seems so messy without you, and we all miss your social commentary and King Kong like presence on the underground. Raw heads still turn to you for the clearest perspective on any particular issue, be it concerning intelligent signals from outer space, the perils of totalitarian government, any conspiracy you can think of, no matter how wild or crazy (as nothing could be stranger than the truth) We miss your humor and willingness to confront the boogie man in every corner of the cultural living room, where others fear to tread.

new readers are discovering your books daily, both fiction and non-fiction (oh whats the difference these days?) i dream of picking apart the bride of Illuminatus with a 10’000 strong, open on-line community, and to witness the films and games and weird works dedicated to you light up your face. Shit, it’s easy to forget how well you’re ideas are preserved due to your due diligence when writing. You might chuckle to see us all pushing onwards into the dark woods with the world on our shoulders, taking on the TSOG with art and magic. May you rest in peace, and continue to extrude your ubiquitous entanglement with those who wish to tune in. Please visit at any time.

–Steve Fly

Cosmic Trigger NinjaJamm – Demo’s

These 3 Cosmic Trigger themed, Ninjajamm packs are an example of what NinjaJamm can do, or what you can do with NinjaJamm. After carefully cutting up the samples, anybody with enough time on their hands, and will, can use the NinjaJamm framework to produce a unique tune pack. You can download the app free for both IOS and Android devices, here: www.ninjajamm.net

Special thanks to Tom Grashion for help programming the packs, and to Matt B, Alex, and Aneek at Ninjajamm.

–Steve Fly

Kick Out The Jamms – NinjaJamm Demo #1

 Fly Raw – Ninjajamm Demo #1

Fly Walk –

NinjaJamm Demo #01

Kick Out The Jamms – Ninjajamm Demo #2

Cosmic Trigger Play and The Tale of The Tribe

PART 1: TTOTT and PLAY

“Fuck God In The Ass”–Ed Sanders

“If you can’t say FUCK in public, then the terrorists have won.–D. Scott Apel.

Towards the radical abolition of time as history, in favour of a more flexible playtime where 1994 and 1977 (for example) feedback to each other through the porthole of stagecraft. The Strange Intimacy in the dramatic plays of W.B Yeats, partly influenced by Ernest Fenollosa and his contact with the Noh play tradition of Japan. Within, the accumulation of techniques taken in the Poundian’ sense of that phrase. The exploitation of lighting, stage projection, sound effects and costume all-at-once in a Wellesian’ fashion, sharp transitions. Ritualistic and ceremonial jams with space for improvisation and embellishment, yes. The fair and rare scientific language of higher states of consciousness, further clarified and made new by actors and stage magix, singing, dancing, shouting.

The process of time and humans gathered together: actors, props, lights, sound, projections, choreography, costume, writing, production, promotion, not to mention food travel shelter and personal hygiene. All this, ALL THIS came together in a unique intersection point, or series of intersection points, to lean on a phrase from Burroughs. The words and the lights and the sounds and the ears hearts minds and bodies of both performers and co-conspirators, the audience co-mingled, wrestled together with a Robert Anton Wilson Universe.

Often times i felt the words jump of the script and into the walls, or the mouth or face of another. Letters are OFF the wall. Language of poetry thrown up onto the stage, balls and all. Total transformation of mind and ALL that resembles it. The sheer rush of hearing the wise words of RAW, and many of his cohorts projected into the air with such finesse, attention to inflection, cadence, the swing of the word, amped-up expressive decoration and embroidery.

Cosmic Trigger Play, in my humble opinion, and to curve your ear a little, might have been to the delight of RAWs tribe. I mean to say, RAWs unfinished great work ‘The Tale Of The Tribe‘ criss-crosses with Cosmic Trigger Play in that TTOTT players William Butler Yeats, Marshall McLuhan, Orson Welles, and Perhaps Joyce and Pound may have enjoyed the stage play IMHO…Bruno, Vico, Nietzsche, Fenollosa, Shannon and Bucky too (google em’ & git bck. to me with yr/ thoughts) I’m getting at, or digging into an idea about the hermetic nature of theatre, the multi-media of it ALL, and how the new play satisfies many of the quality critters that Robert Anton Wilson invoked in his last great unfinished work TTOTT. At least TTOTT represents the direction i would like you, dear reader, to ramble into. Please excuse my using it as a playful spring board to get into reviewing the play itself.

RAW would have been moved and inspired if he were around to see the Cosmic Trigger Play. He would have loved it. Sorry to invoke a cliche’ yet i think it important to consider RAWs position on current events, and not just political and or metaphysical but concerning the creative arts and new media, to attempt to reconsider some of his critical thoughts on the art and culture, social psychology and a further refined focus on theatre. Makes sense right? (you can find all the details about the who to the what now if you type ‘Cosmic Trigger Play’ into any search engine. But wait.

Okay, maybe the best way to push onwards is git’ the 23K (x4) and do it all again. Cosmic Trigger pulling remains an open game, the new Universe sits gleaming in the moonlight. Sparkling, full of stars orbiting planet word. A Cosmic Trigger Play pulled off and etched into the mind-body-speech of a sleepless crew of initiates. A crew ready to roll. Let’s go get em’. (Already feeling terribly confined here in word-world, trying to talk a bit about Bob and the TTOTT and the play and ALL).

Tom Robbins once stated words to the effect that if roughly 15% of the population were reading and acting upon the works of Robert Anton Wilson we might see a new enlightenment/renaissance, or something equally epic and encyclopedic. Of course i agree, and you can find loads of my writings across the web echoing this sentiment. READ HIM. Go to the source.

The tale of the tribe brings together a dozen innovators from history, reaching back to Giordano Bruno (16th century) and into the 21st Century (Claude Shannon). A current of renaissance men, who share a part to play in both the gestation of ideas and influences upon Robert Anton Wilson, and upon Internet. Yes, INTERNET. RAW seemed to be a BIG fan of Internet. I feel he would have supported Wikileaks, Snowdon, EFF, Open Source Projects, Chaos Computer Club meetings, Anonymous, Aaron Swartz, Jacob Applebaum, Cory Doctorow and most Internet rights activists. And i think he would find facebook an amusing distraction from his hologrammic prose.

Lets co-create a new Universe or theatre of the mind, where each and everyone of us can think and act in multiple dimensions, working on many levels, in synchrony, considering set and setting, speech and place-time. Making the invisible visible. Let’s do it again to the gates of eternity.

RAW_ON_BALCONY_CLOSE.jpg


PART 2: THANKS TO ALL THE COSMIC CREW

Thanks to those wise beings who donated food to the backstage area and those who were kind enough to buy a cast or crew member a well deserved drink. Greg and Wolfy and the Liverpool crew. Mario Dimaggio of Immersive Dome Theaters, and Toby Philpott who helped manage the Maybe Logic Dome at the Find The Others Festival, and all the other performers and exhibitors. The London Film crew who set up at lost, the random helping hands all over the place, the Cosmic Trigger Band, optimistic ideas from Harvey Webb, music and good vibes from Youth, and the phalanx of other musicians and DJs who performed at the ‘Find The Others’ festival, and those who played in London. My friends Emily, Scott Groves and Kev Lane for showing up. Lisa Lovebucket and crafts, Beccy Strong photography, Jonathan Greet photography. And on…

All the strong willed ones who helped transport the entire set and many of the crew back and forth to locations in Liverpool, and in London.Special thanks to John Sinclair, Caleb Selah, CHU and all those who supported the crowd fund launch party and donated time, services, equipment and money to the whole trigger pulling process. Alan Moore for continued support. All the supportive video clips from Douglas Rushkoff, Nina Conti, Irving Rappaport, Alan Moore, Jamie Reid, Bill Nye, John Higgs and those i forgot. To Jack Sarfatti for agreeing to meet with Nic Alderton for an interview in S.F. Special thanks to Rick Rasa, Sandhya Sanjana, Michael Ray, Matt Black, Youth, Tim Eggmond, Dominick Clementson, Caleb Selah and all the voices of the cast for all the musical contributions.

A standing ovation for the hundreds of cuddly crowd-funders and thousands of supporters across the planet who re-tweeted, forwarded by email or better yet spread the word-by-mouth of the impossible play made possible. Big up. And a nice one to the reviewers and those who published in support of the project, in particular the Liverpool Confidential and the Independent. And, finally, to those who did not get a mention, it really sits with you now, so thanks in anticipation. I feel fortunate to have had such a schooling process collaborating with the following sleepless crew:

Actors
Oliver Senton – Robert Anton Wilson
Kate Alderton – Arlen /Jano Watts / Miss Portinari
Dixie Mcdervitt – Luna / Ensemble
Lee Ravitz – Kerry Thornley / Simon Moon / George Dorn
Andrew Mackbean – Dr Timothy Leary / Hagbard Celine
Josh Darcy – Ken Campbell / Gary Kerstein / Greg Hill / Ensemble
Tom Baker – Aleister Crowley / Robert Shea / Ensemble
Daisy Campbell – Mavis / Prunella Gee
Claudia Egypt Bolton – Eris / Ensemble
Robert Wells – Slim / Goat Boy / Ensemble
Katy-Anne Hellis – Karuna Wilson / Angel / Paula / Ensemble
Larry Sidorczuk – Albert Hoffman / Ensemble
Nick Helweg Larson – Postman
Irving Rappaport – Jaques Vallee / George Harvey Webb / Ensemble
Peter Wilson – William Burroughs
Nick Marcq – Alan Watts
Michele Watson – Lead Ensemble
Amanda Maye Steele – Ishtar (wed/thu/sat mat)
Elizabeth Sandford-Richardson – Ishtar (fri)
Katy Claire – Ishtar (sat)
Robert K.G Temple – As himself (sat)

Team
Daisy Eris Campbell – Writer and Director
Michelle Watson – Conferestival Director
Dominic Search – General Manager & Webtech
Nadia Luijten – Stage Manager & Social Media
Claudia Boulton – Production and Popery
Nic Alderton – Production, perks and Film
Polly Wilkinson – Graphic Art & Merchandise
Scott McPherson – Projections and Virals
Steve Fly – Music Director
Chris Farncombe – Lighting Design
Sadie Spencer – Lighting Desk
Padrigo Brown – Scenery & Props Maester
Dominick Clementson – Sound Desk (wed/thur)
Josh Chedwin Evans – Sound Desk (fri/sat)

Credits
Christian Wach – Website Design
Jonathan Greet – Stills Photography
Andrew Ab – Stills Photography
Adam Clark – Stills Photography
Bobby Campbell – Initial Artwork
CHU – Illuminatus Set Painting
Gary Acord – Initial website hosting
Lee Isserow – Camera Liverpool
Michelle Olly – Promotions & Vibes

one eye triangle.jpg


PART 3: RE:VERSE-RIGGER

thus was it in time
here with discordian sounds
of Sun Ra and Tim Leary
in my head 1973 1993 to infinity
time has come ready

1950s & 1990s mixed with
Nixon era cointelpro paranoia
3 stooges of interplay
on many levels

Bogart and Saul Goodman
totally Orson unhinged
gates of eternity
hyperreal investigation

trigger pulled
lasagna launched
comets and interstellar
regions crossed
acid Crowley Lilly love scene

timespace and speechspaces
reshaped to travel-time
the eternal nowness of
Robert Anton Wilson
Universe breathing
chanting enochian

captured and shored by
Daisy Eris and her pirate ship
of initiates bound for planet mu
mu unbound from the page to
the stage pulling it all
off

blowing minds out of time
into-starseed-spaces
light body voice speech
enactments towards
decohere…
cosmic trigger
with claritas humanitas
and hilaritas

ctp_scotty_mcpherson_mass.jpg
Black Mass Scene – Visual Projections and Photo by Hagbard Celine

PART 4: SOURCES AND RESOURCES

http://cosmictriggerplay.com/

http://www.rawillumination.net/2014/11/cosmic-trigger-play-news-roundup.html

http://maybelogic.blogspot.nl/2014/11/cosmic-event-in-london.html

http://boingboing.net/2014/03/17/raws-the-cosmic-trigger-as-a.html

http://maybelogic.blogspot.nl/2014/09/cosmic-trigger-re-play.html

https://www.flickr.com/search?text=cosmic%20trigger%20play&sort=relevance

ch_dem_14.JPG

1402995_10152417546780496_1201840578301794643_o.jpg
Steve Fly at the drums – Photo by Jonathan Greet

Cosmic Trigger Play Tickets

Ticket of Selves

Tickets

Get your tickets for the Greatest Show on Planet World… Be part of the Cosmic Trigger Experience and have your mind blow just right! Or watch the standalone Cosmic Trigger Play and dip your toe in Chapel Perilous!


The Cosmic Trigger Experience

2:23pm Sat 22nd Nov 2014 until
23:23  Sun 23rd Nov 2014 (and beyond)

at Camp and Furnace, Liverpool, UK
If you really want your Cosmic Trigger pulling, this is the event for you! We kick off with the epic Cosmic Trigger Play on Saturday afternoon, followed by the Discordian Papal Ball and Cabaret. On Sunday we have the “Find the Others” Conferestival, with music, talks, cinema, art, performance and ritual….  12+
Combined ticket for Cosmic Trigger Play + Discordian Ball + Find the Others Conferestival is £69. Impossible value! No fnord human has ever seen such value. VALUE!
On general release from 23rd September via
The Everyman box office, phone 0151 709 4776


Cosmic Trigger – The Stageplay

If you are unable to be there for The Experience, or you want to have another trip through Chapel Perilous, then it is possible to see just the Cosmic Trigger Play on its own (without the conferestival) in both Liverpool and London…  12+

Liverpool

Friday 21st November 2014, 7:30pm – 11:30pm
preview show at Camp and Furnace, Liverpool, UK
Tickets are £23/£13 concs
On general release from 23rd September via
The Everyman box office, phone 0151 709 4776

London

Wednesday 26th November, 7:00pm – 11:00pm
Thursday 27th November, 7:00pm – 11:00pm
Friday 28th November, 7:00pm – 11:00pm
Saturday 29th November, 1:00pm matinee and 7:00pm
at LOST Theatre, London, UK
Tickets are £33/£23 concs
On general release from 23rd September via
LOST Theatre box office, phone 0207 720 6897

http://cosmictriggerplay.com/tickets/

Cosmic Trigger Replay: Maybe Logic Class. Sept 23 to Nov 23

Come join a crash course cosmic adventure through the lives and ideas of Robert Anton Wilson!

The Maybe Logic Academy is once again opening its invisible doors for an intensive 8 week RAW workshop, which leads directly into the premier of the highly anticipated stage adaptation of RAW’s Cosmic Trigger by Daisy Eris Campbell!

The workshop is divided into four 2 week sessions, presented by MLA Alumni: Steve Fly Agaric, Propaganda Anonymous, Toby Philpott aka Bogus, and Bobby Campbell.
Whether you are a new initiate to the Maybe Logic chaosmos, or a fully vested Ascended Master of all things maybe, there will be an abundance of RAW delight!

 The secret society reconvenes on September 23rd, come find the others here at: maybelogic.net

(Suggested donation €23, but pay what you will shall be the whole of the law)
 
For more info check out this smorgasbord of flying lasagna!

SECTION 1: RAW Artists Workshop

Presented by Steve Fly Agaric

A collaborative jimjam of like minded mutants and MLA critters creating new meps and mapaphors to help find the others just in time for space migration.
“The biosphere—Gaia—the DNA script—is more intelligent than all individuals. Gene-pools and species. It has survived everything thrown at it for nearly 4 billion years, and is getting smarter all the time.”–RAW, Prometheus Rising, pg.181.

WEEK ONE: RAW RENAISSANCE

Presentation: RAW & the tale of the tribe
Workshop: Language of poetry & eggshells

“The instrument that measures all other instruments—the human nervous system—has its own laws, and one of them involves always seeing the results one wants to see until and unless something really startles the brain enough to reframe its experiences.”–RAW, Dangerous Experiments, Cosmic Trigger III, pg134.


WEEK TWO: REPLAY

Presentation: RAW360.net
Workshop: No place place like dome

 


SECTION 2: Perilous Lessons from the Chapel of Ill-Repute
Presented by Propaganda Anonymous

WEEK THREE: NEUROGEOGRAPHY OF CONSPIRACY THEORY

Workshop: RAW’s 8 Elements of Conspiracy Theory
Presentation: Lots of Cussin and Discussin this presentation of Wilson’s analysis

WEEK FOUR: A TRADITION OF EXPLANATION

Workshop: The Anthropological Approach to Conspiracy Theories
Presentation: More Discussions and Cussin about the ‘Illuminati’ Conspiracy Motif, plus more!



SECTION 3: The Latest Model
Presented by Toby Philpott aka Bogus

In which we examine the language we us to describe the world, and the models we develop to try to explain it, or at least find our way around.
WEEK FIVE:  THE MENU IS NOT THE MEAL
Presentation:  Language as a virus
Workshop: Using E-Prime for a week – an exercise to help us evaluate the words we use, and communicate more clearly

WEEK SIX: 8 DIMENSIONS OF MIND

Presentation:  Models of the Mind, with special reference to the 8 Circuit Model
Workshop: Discussion of the model, experiences with it, variations and alternatives – “all models need revision, when new information comes in.”


SECTION 4: The Cosmic Giggle Factor
Presented by Bobby Campbell

Wherein we will endeavor to use the whimsical magic of art & technology to unleash the RAW power of change in ourselves and the world. PULL MY FINGER!

“The world is not only stranger than we imagine, it is stranger than we can imagine.”
– J. B. S. Haldane

WEEK SEVEN: COSMIC TRIGGER HAPPY
Presentation: The Great Magician
Workshop: Metaprograms & Sigils

WEEK EIGHT: THE FINAL SECRET OF THE ILLUMINATI
Presentation: Operation Mindfuck
Workshop: RAW Memetics

http://www.maybelogic.net/about-menu/faculty/upcoming/cosmic-trigger-re-play#

http://t4qs.fm/replay

Japanese Noh Play: Chant and music (from wikipedia)

Chant and music

Hayashi-kata (noh musicians). Left to right: taiko, ōtsuzumi (hip drum), kotsuzumi (shoulder drum), flute.

 

Noh theatre is accompanied by a chorus and a hayashi ensemble (Noh-bayashi 能囃子). Noh is a chanted drama, and a few commentators have dubbed it “Japanese opera“. However, the singing in Noh involves a limited tonal range, with lengthy, repetitive passages in a narrow dynamic range. Clearly, melody is not at the center of Noh singing. Still, texts are poetic, relying heavily on the Japanese seven-five rhythm common to nearly all forms of Japanese poetry, with an economy of expression, and an abundance of allusion. The singing parts of Noh are called “Utai” and the speaking parts “Kataru”.[7]

The chant is not always performed “in character”; that is, sometimes the actor will speak lines or describe events from the perspective of another character or even a disinterested narrator. Far from breaking the rhythm of the performance, this is actually in keeping with the other-worldly feel of many Noh plays, especially those characterized as mugen.

Noh hayashi ensemble consists of four musicians, also known as the “hayashi-kata”. There are three drummers, which play the shime-daiko, ōtsuzumi (hip drum), and kotsuzumi (shoulder drum) respectively, and a shinobue flautist.

http://en.wikipedia.org/wiki/Noh#Chant_and_music