Except for their exotic costumes and locale, traditional Japanese kyogen plays have a lot in common with television's situation comedies.

The short pieces play about 30 minutes, feature stock characters, exaggerated movements and slapstick comedy. Both rely heavily on formulas and readily understood plots.

That point of view, coupled with English dialogue, makes the current production of four short plays under the collective title of "Kyogen: Timeless Comedy," both accessible to a modern audience yet true to its traditional roots.

Kyogen comedies are thought to have developed from Chinese origins. By the 14th century, they had reached distinct forms, with the short kyogen pieces performed during the intermissions of longer, more serious noh dramas.

This production at the Kennedy Theatre was assembled, largely translated and adapted by Julie A. Iezzi, who selected plays not often performed outside of Japan but which illustrate the range of kyogen humor.

For several months, master artists from the Okura School of Kyogen trained the university student cast, and the opening- night audience had the opportunity to watch "the only bilingual kyogen performer in the world," temporarily substitute for an injured student actor.

The university cast — which breaks tradition by including women — does well within the established formal boundaries. The translated dialogue is clear and immediately understandable, and the comic potential of the absurd situations is easily realized.

In "The Six Jizo Statues," a country bumpkin (Rhiannon McCullough) is confused by a chorus of tricksters who strike frozen poses with the comic aplomb of a Marx Brothers routine. In "Hakama for Two," a new son-in-law (Jeremy Dowd) is daunted by wearing ritualistic trousers with long, flowing legs that encumber his feet. (Picture Lucille Ball in the middle of an unsuccessful prank.)

In "A Measure of Courage," John Oglevee is goaded by his wife into the ineffectual fury of Don Knotts' Barney Fife character as he threatens a group that has insulted him.

All this plays out in costumes of many layers and patterns, and on an exquisitely edited set designed by Justin DeLand and lighted by Joshua Greenspoon. A large wooden-plank stage projects over a glassy pond of water, fed by a row of bamboo fountain heads. A bridge walkway and a simple backdrop complete the striking picture.