This paper examines how spirituality in Japanese Noh Dramas exhibit personal truths during the Muromachi era from 1336 CE to 1573 CE and in modern society. Specifically, this research examines the classic Noh Drama play Atsumori by Zeami Motokiyo through the phenomenological lens to observe how religion exhibits personal truths. The methodology of using phenomenology allows me to examine the reality of what is created in the moment and how it impacts what is truthful to the individual. It is important to note the various religious influences that went into the development of Noh Drama and how phenomenology connects to spirituality when it deals with an individual’s experience in this world. I will be expanding upon the subjective experience of phenomenology as described by Maurice Merleau-Ponty as well as pairing it with the concept of Yugen, a traditional Japanese aesthetic that parallels phenomenology with its use of observation of nature eliciting an emotional response that transcends any explanation from the viewer. This essay will serve as a way to understand the truth behind the intent of experiencing Noh with its original context, the relevance of modern performances of Atsumori, and how differing perspectives of a perceived truth from various people enhance each experience. My research brings attention to a specific part of theatre with religious imagery and messages to allow those to understand what personal truth through performance is which may translate into theatre and performance beyond Noh Drama.