In William T. Vollmann's book, "Kissing the Mask: Beauty, Understatement, and Femininity in Japanese Noh Theater," the author explores the complex concept of what defines a woman. He suggests that a woman is essentially a projection, shaped by the perceptions and performances of others. The identities projected in the theater may not reflect the internal sense of self of the performers, as seen in the male actors Mr. Umewaka and Mr. Mikata, who do not perceive themselves as women but strive to portray femininity without any claim to that identity.

This notion raises intriguing questions about gender and identity in performance. While performers may mechanically embody feminine roles, the internal psyche may diverge significantly from the external portrayal. Thus, the performance can reveal aspects of femininity that transcend mere physical representation. It highlights the complexities of gender expression and how societal expectations influence interpretations of what it means to be a woman, illuminating the nuanced interplay between identity, performance, and perception.