88-564: The Kuroda Puppet Troupe (黒田人形座) is a traditional Japanese puppet troupe in the style commonly known as ningyō jōruri or bunraku based in the city of Iida in Nagano Prefecture . Founded in 1688, the Troupe has performed continuously to the present. Kuroda focuses on preserving the traditional style of puppet operation originally introduced to them by itinerant puppeteers from Awaji Island . The Troupe's current performance hall
176-498: A control rod that extends back from the elbow of the puppet. A third puppeteer, the ashizukai , operates the feet and legs. Puppeteers begin their training by operating the feet, then move on to the left hand, before being able to train as the main puppeteer. Many practitioners in the traditional puppetry world, particularly those in the National Theater, describe the long training period, which often requires ten years on
264-435: A copper plate. To ensure that the puppet head is not damaged, the finishing of the hairstyle is made with water and beeswax, not oil. The costumes are designed by a costume master and are composed of a series of garments with varying colors and patterns. These garments typically include a sash and a collar as well as an underkimono ( juban ), a kimono , and a haori or an outer robe ( uchikake ). In order to keep
352-479: A difficult time for kabuki; besides the war's physical impact and devastation upon the country, some schools of thought chose to reject both the styles and artforms of pre-war Japan, kabuki amongst them. Director Tetsuji Takechi 's popular and innovative productions of kabuki classics at this time are credited with sparking new interest in kabuki in the Kansai region. Of the many popular young stars who performed with
440-580: A kabuki drama each year since 1976, the longest regular kabuki performance outside Japan. In November 2002, a statue was erected in honor of kabuki's founder, Izumo no Okuni and to commemorate 400 years of kabuki's existence. Diagonally across from the Minami-za, the last remaining kabuki theater in Kyoto, it stands at the east end of a bridge (Shijō Ōhashi) crossing the Kamo River in Kyoto. Kabuki
528-433: A key aspect of kabuki tradition, such as conventional character tropes. Kabuki theater and ningyō jōruri , an elaborate form of puppet theater later known as bunraku , became closely associated with each other, mutually influencing the other's further development. The famous playwright Chikamatsu Monzaemon , one of the first professional kabuki playwrights, produced several influential works during this time, though
616-431: A performer in kabuki theatre. Since the word kabuki is believed to derive from the verb kabuku , meaning 'to lean' or 'to be out of the ordinary', the word kabuki can also be interpreted as 'avant-garde' or 'bizarre' theatre. The expression kabukimono ( 歌舞伎者 ) referred originally to those who were bizarrely dressed. It is often translated into English as 'strange things' or 'the crazy ones', and referred to
704-400: A puppet may be constructed so that its face can quickly transform into that of a demon. Less complex heads may have eyes that move up and down, side to side or close, and noses, mouths, and eyebrows that move. Controls for all movements of parts of the head are located on a handle that extends down from the neck of the puppet, and are reached by the main puppeteer inserting their left hand into
792-728: A run at the National Theater. The National Bunraku Theatre also tours within Japan and occasionally abroad. Until the late 1800s there were also hundreds of other professional, semi-professional, and amateur troupes across Japan that performed traditional puppet drama. Since the end of World War II, the number of troupes has dropped to fewer than 40, most of which perform only once or twice a year, often in conjunction with local festivals. A few regional troupes, however, continue to perform actively. The Awaji Puppet Troupe, located on Awaji Island southwest of Kobe , offers short daily performances and more extensive shows at its own theater and has toured
880-487: A single head. The head of Tamamo-no-Mae , by pulling a string, can instantly cover the face of a beautiful woman with a kitsune (fox) mask. It is possible to represent, with a single head, the true appearance of the nine-tailed fox that was disguised as Tamamo-no-Mae. Note that in Noh , the change in the attributes of the characters is represented by removing one of the double-layered Noh masks. The nashiwari ,
968-406: A type of head, can be made by pulling a string to split the head in two, revealing a red section to represent a head severed by a sword. The preparation of the hair constitutes an art in and of itself. The hair distinguishes the character and can also indicate certain personality traits. The hair is made from human hair, however yak tail can be added to create volume. The ensemble is then fixed on
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#17327881218661056-402: A wheeled platform. Also common are stagehands rushing onto the stage adding and removing props, backdrops and other scenery; these kuroko ( 黒子 ) are always dressed entirely in black and are traditionally considered invisible. Stagehands also assist in a variety of quick costume changes known as hayagawari ("quick change technique"). When a character's true nature is suddenly revealed,
1144-598: Is Gerald Vizenor 's Hiroshima Bugi (2004). Writer Yukio Mishima pioneered and popularised the use of kabuki in modern settings and revived other traditional arts, such as Noh , adapting them to modern contexts. There have even been kabuki troupes established in countries outside Japan. For instance, in Australia, the Za Kabuki troupe at the Australian National University has performed
1232-415: Is a classical form of Japanese theatre , mixing dramatic performance with traditional dance . Kabuki theatre is known for its heavily stylised performances, its glamorous, highly decorated costumes, and for the elaborate kumadori make-up worn by some of its performers. The term kabuki originates from a verb that was used to describe young samurai patrons, meaning "being weird" or "offbeat." Kabuki
1320-568: Is a form of traditional Japanese puppet theatre , founded in Osaka in the beginning of the 17th century, which is still performed in the modern day. Three kinds of performers take part in a bunraku performance: the Ningyōtsukai or Ningyōzukai ( puppeteers ), the tayū ( chanters ), and shamisen musicians. Occasionally other instruments such as taiko drums will be used. The combination of chanting and shamisen playing
1408-420: Is a technique, which appeared toward the middle of the 19th century, by which an actor's costume is attached to wires and he is made to "fly" over the stage or certain parts of the auditorium. This is similar to the wire trick in the stage musical Peter Pan , in which Peter launches himself into the air. It is still one of the most popular keren (visual tricks) in kabuki today; major kabuki theaters, such as
1496-475: Is called jōruri and the Japanese word for puppet (or dolls, generally) is ningyō . It is used in many plays. Bunraku 's history goes as far back as the 16th century, but the origins of its modern form can be traced to around the 1680s. It rose to popularity after the playwright Chikamatsu Monzaemon (1653–1724) began a collaboration with the chanter Takemoto Gidayu (1651–1714), who established
1584-438: Is draped over the front and back of the shoulder board, followed by the attachment of cloth. Carved bamboo is attached to create the hips of the puppet, arms and legs are tied to the body with lengths of rope. There is no torso to the puppet, as it would merely block out the puppeteer's range of movement of the individual limbs. The isho , or costume of the doll is then sewn on to cover over any cloth, wooden or bamboo parts that
1672-499: Is often referred to as the "Saruwaka-machi period", and is well known for having produced some of the most exaggerated kabuki in Japanese history. Saruwaka-machi became the new theatre district for the Nakamura-za, Ichimura-za and Kawarazaki-za theatres. The district was located on the main street of Asakusa, which ran through the middle of the small city. The street was renamed after Saruwaka Kanzaburo, who initiated Edo kabuki in
1760-481: Is pulled back to one side by a staff member by hand. An additional outer curtain called doncho was not introduced until the Meiji era following the introduction of western influence. These are more ornate in their appearance and are woven. They depict the season in which the performance is taking place, often designed by renowned Nihonga artists. Since feudal laws in 17th century Japan prohibited replicating
1848-493: Is thought to have originated in the early Edo period , when the art's founder, Izumo no Okuni , formed a female dance troupe that performed dances and light sketches in Kyoto . The art form later developed into its present all-male theatrical form after women were banned from performing in kabuki theatre in 1629. Kabuki developed throughout the late 17th century and reached its zenith in the mid-18th century. In 2005, kabuki theatre
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#17327881218661936-424: Is used to separate the area where the audience is sitting from the main stage. The puppeteers stood behind the joshiki-maku , holding their puppets above the curtain while being hidden from the audience. However, the dezukai practice established later in the bunraku form would let the actors be seen on stage moving with the puppets, nulling the use of the curtains. Kabuki Kabuki ( 歌舞伎, かぶき )
2024-416: The shamisen player provide the essential music of the traditional Japanese puppet theater. In most performances only a shamisen player and a chanter perform the music for an act. Harmony between these two musicians determines the quality of their contribution to the performance. The role of the tayū is to express the emotions and the personality of the puppets. The tayū performs not only
2112-511: The shamisen , clothes and fashion often dramatic in appearance, famous actors and stories often intended to mirror current events. Performances typically lasted from morning until sunset, with surrounding teahouses providing meals, refreshments and place to socialise. The area surrounding kabuki theatres also featured a number of shops selling kabuki souvenirs. After performances, women performers would offer sexual services for those who could afford it. Since fights would usually erupt among
2200-596: The Meiji era to follow. Kawatake Mokuami commonly wrote plays that depicted the common lives of the people of Edo. He introduced shichigo-cho (seven-and-five syllable meter) dialogue and music such as kiyomoto . His kabuki performances became quite popular once the Saruwaka-machi period ended and theatre returned to Edo; many of his works are still performed. In 1868, the Tokugawa ceased to exist, with
2288-472: The National Theatre , Kabuki-za and Minami-za , are all equipped with chūnori installations. Scenery changes are sometimes made mid-scene, while the actors remain on stage and the curtain stays open. This is sometimes accomplished by using a Hiki Dōgu , or "small wagon stage". This technique originated at the beginning of the 18th century, where scenery or actors move on or off stage on
2376-426: The forty-seven rōnin is also famous in both bunraku and kabuki. Bunraku is an author's theater, as opposed to kabuki, which is a performer's theater. In bunraku , prior to the performance, the chanter holds up the text and bows before it, promising to follow it faithfully. In kabuki, actors insert puns on their names, ad-libs, references to contemporary happenings and other things which deviate from
2464-572: The restoration of the Emperor . Emperor Meiji was restored to power and moved from Kyoto to the new capital of Edo, or Tokyo, beginning the Meiji period. Kabuki once again returned to the pleasure quarters of Edo, and throughout the Meiji period became increasingly more radical, as modern styles of kabuki plays and performances emerged. Playwrights experimented with the introduction of new genres to kabuki, and introduced twists on traditional stories. Beginning in 1868, enormous cultural changes, such as
2552-556: The Emperor sponsoring a kabuki performance on 21 April 1887. After World War II , the occupying forces briefly banned kabuki, which had formed a strong base of support for Japan's war efforts since 1931. This ban was in conjunction with broader restrictions on media and art forms that the American military occupation instituted after WWII. However, by 1947 the ban on kabuki was rescinded, but censorship rules lingered. The ensuing period of occupation following World War II posited
2640-484: The Genroku period was the development of the mie style of posing, credited to kabuki actor Ichikawa Danjūrō I , alongside the development of the mask-like kumadori makeup worn by kabuki actors in some plays. In the mid-18th century, kabuki fell out of favor for a time, with bunraku taking its place as the premier form of stage entertainment among the lower social classes. This occurred partly because of
2728-512: The IHI Stage Around Tokyo from March 4 to April 12, 2023. The kabuki stage features a projection called a hanamichi ( 花道 , "flower path") , a walkway which extends into the audience and via which dramatic entrances and exits are made. Okuni also performed on a hanamichi stage with her entourage. The stage is used not only as a walkway or path to get to and from the main stage, but important scenes are also played on
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2816-438: The Nakamura-za in 1624. European artists began noticing Japanese theatrical performances and artwork, and many artists, such as Claude Monet , were inspired by Japanese woodblock prints. This Western interest prompted Japanese artists to increase their depictions of daily life, including the depiction of theatres, brothels, main streets and so on. One artist, Utagawa Hiroshige , produced a series of prints based on Saruwaka from
2904-411: The Nakamura-za was completely destroyed in 1841, the shōgun refused to allow the theatre to be rebuilt, saying that it was against fire code. The shogunate, mostly disapproving of the socialisation and trade that occurred in kabuki theatres between merchants, actors and prostitutes, took advantage of the fire crisis in the following year, forcing the Nakamura-za, Ichimura-za and Kawarazaki-za out of
2992-506: The Osaka tradition tend to be somewhat smaller overall, while the puppets in the Awaji tradition are some of the largest as productions in that region tend to be held outdoors. The heads and hands of traditional puppets are carved by specialists, while the bodies and costumes are often constructed by puppeteers. The heads can be quite mechanically sophisticated; in plays with supernatural themes,
3080-505: The Saruwaka-machi period in Asakusa. Despite the revival of kabuki in another location, the relocation diminished the tradition's most abundant inspirations for costuming, make-up, and storylines. Ichikawa Kodanji IV was considered one of the most active and successful actors during the Saruwaka-machi period. Deemed unattractive, he mainly performed buyō , or dancing, in dramas written by Kawatake Mokuami , who also wrote during
3168-561: The Takechi Kabuki, Nakamura Ganjiro III (b. 1931) was the leading figure, first known as Nakamura Senjaku before taking his current name. It was this period of kabuki in Osaka that became known as the "Age of Senjaku" in his honor. Today, kabuki is the most popular of the traditional styles of Japanese drama, with its star actors often appearing in television or film roles. Well-known onnagata actor Bandō Tamasaburō V has appeared in several non-kabuki plays and movies, often in
3256-520: The Takemoto puppet theater in Osaka in 1684. Originally, the term bunraku referred only to the particular theater established in 1805 in Osaka , which was named the Bunrakuza after the puppeteering ensemble of Uemura Bunrakuken ( 植村文楽軒 , 1751–1810) , an early 18th-century puppeteer from Awaji , whose efforts revived the flagging fortunes of the traditional puppet theatre. The puppets of
3344-526: The United States, Russia and elsewhere abroad. The Tonda Puppet Troupe ( 冨田人形共遊団 ) of Shiga Prefecture , founded in the 1830s, has toured the United States and Australia on five occasions and has been active in hosting academic programs in Japan for American university students who wish to train in traditional Japanese puppetry. The Imada Puppet Troupe , which has performed in France, Taiwan, and
3432-603: The United States, as well as the Kuroda Puppet Troupe are located in the city of Iida , in Nagano Prefecture . Both troupes, which trace their histories back more than 300 years, perform frequently and are also active in nurturing a new generation of traditional puppeteers and expanding knowledge of puppetry through training programs at local middle schools and by teaching American university students in summer academic programs at their home theaters. The increase in interest in bunraku puppetry has contributed to
3520-455: The art form. Rice powder is used to create the white oshiroi base for the characteristic stage makeup, and kumadori enhances or exaggerates facial lines to produce dramatic animal or supernatural masks . The colour of the kumadori is an expression of the character's nature: red lines are used to indicate passion, heroism, righteousness, and other positive traits; blue or black, villainy, jealousy, and other negative traits; green,
3608-408: The artist does not wish to be seen. Finally, a slit is created in the back of the costume in order for the chief puppeteer to firmly handle the dogushi head stick. Unlike kabuki, which emphasizes the performance of the main actors, bunraku simultaneously demonstrates elements of presentation (directly attempting to invoke a certain response) and representation (trying to express the ideas or
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3696-400: The attention of the third shogun , Iemitsu , known for his interest in pederasty. He even arranged special performances. However, after Iemitsu's death in 1651 and with samurai now fighting for the attention of boys rather than girls, the shogunate imposed further restrictions, allowing only males over 15 to perform on stage. Kabuki switched to adult male actors, called yaro-kabuki , in
3784-413: The chest of the puppet through a hole in the back of the torso. The main puppeteer, the omozukai , uses their right hand to control the right hand of the puppet, and uses their left hand to control the puppet's head. The left puppeteer, known as the hidarizukai or sashizukai , depending on the tradition of the troupe, manipulates the left hand of the puppet with their own right hand by means of
3872-406: The city limits and into Asakusa , a northern suburb of Edo. This was part of the larger Tenpō Reforms that the shogunate instituted starting in 1842 to restrict the overindulgence of pleasures. Actors, stagehands, and others associated with the performances were also forced to move as a result of the death of their livelihood; despite the move of everyone involved in kabuki performance, and many in
3960-401: The city of Edo. Kabuki theatres became well known as a place to both see and be seen in terms of fashion and style, as the audience—commonly comprising a number of socially low but economically wealthy merchants —typically used a performance as a way to feature the fashion trends. As an art-form, kabuki also provided inventive new forms of entertainment, featuring new musical styles played on
4048-552: The clothing and the paint. The heads are in effect repainted and prepared before each presentation. There are approximately 80 types of puppet heads broadly classified, and the Digital Library of the Japan Arts Council ( ja ) lists 129 types of puppet heads. Some of these heads have special tricks on them, and by pulling the strings of these tricks, the expression of the puppet can be changed to show that
4136-431: The costumes soft they are lined with cotton. As the clothing of the puppets wear out or are soiled the clothing is replaced by the puppeteers. The process of dressing or redressing the puppets by the puppeteers is called koshirae . A puppet's skeletal structure is simple. The carved wooden kashira is attached to the head grip, or dogushi , and thrust down an opening out of the puppet's shoulder. Long material
4224-421: The country, including anime-based productions such as Naruto or One Piece starting from 2014. Super Kabuki has sparked controversy within the Japanese population regarding the extent of modification of the traditional art form. Some say that it has lost its 400-year history, while others consider the adaptations necessary for contemporary relevance. Regardless, since incorporating more advanced technology in
4312-514: The demographics of the puppeteers in a troupe in order to fill each role. All but the most minor characters require three puppeteers, who perform in full view of the audience, generally wearing black robes. In most traditions, all puppeteers also wear black hoods over their heads, but a few others, including the National Bunraku Theater, leave the main puppeteer unhooded, a style of performance known as dezukai . The shape of
4400-420: The devices of hikinuki and bukkaeri are often used. This involves layering one costume over another and having a stagehand pull the outer one off in front of the audience. The curtain that shields the stage before the performance and during the breaks is in the traditional colours of black, red and green, in various order, or white instead of green, vertical stripes. The curtain consists of one piece and
4488-417: The emergence of several skilled bunraku playwrights in that time. Little of note would occur in the further development of kabuki until the end of the century, when it began to reemerge in popularity. In the 1840s, repeated periods of drought led to a series of fires affecting Edo, with kabuki theatres—traditionally made of wood—frequently burning down, forcing many to relocate. When the area that housed
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#17327881218664576-549: The emotional aspects for the audience. In bunraku the futo-zao shamisen which is the largest shamisen as well as that of the lowest register, is employed. The instruments most frequently used are flutes, in particular the shakuhachi , the koto and various percussion instruments. The heads of the puppets ( kashira ) are divided into categories according to gender, social class and personality. Certain heads are created for specific roles, others can be employed for several different performances by changing
4664-1163: The establishment of the first traditional Japanese puppet troupe in North America. Since 2003, the Bunraku Bay Puppet Troupe , based at the University of Missouri in Columbia, Missouri , has performed at venues around the United States, including the Kennedy Center for the Performing Arts and the Smithsonian Institution , as well as in Japan. They have also performed alongside the Imada Puppet Troupe. The Center for Puppetry Arts in Atlanta , Georgia , has an extensive variety of bunraku puppets in its Asian collection. The chanter/singer ( tayū ) and
4752-450: The fall of the Tokugawa shogunate, the elimination of the samurai class, and the opening of Japan to the West, helped to spark kabuki's re-emergence. Both actors and playwrights strove to improve the reputation of kabuki in the face of new foreign influence and amongst the upper classes, partially through adapting traditional styles to modern tastes. This endeavour would prove successful, with
4840-463: The favors of a particularly popular or handsome actor, leading the shogunate to ban first onnagata and then wakashū roles for a short period of time; both bans were rescinded by 1652. During the Genroku period, kabuki thrived, with the structure of kabuki plays formalising into the structure they are performed in today, alongside many other elements which eventually came to be recognised as
4928-460: The feelings of the author). In this way attention is given to both visual and musical aspects of the puppets as well as the performance and the text. Every play begins with a short ritual in which the tayū , kneeling behind a small but ornate lectern , reverentially lifts their copy of the script to demonstrate devotion to a faithful rendering of the text. The script is presented at the beginning of each act as well. Despite their complex training,
5016-412: The feet, ten years on the left hand, and ten years on the head of secondary characters before finally developing the requisite skills to move to the manipulation of the head of a main character, as an artistic necessity. However, in a culture like that of Japan, which privileges seniority, the system can also be considered a mechanism to manage competition among artistic egos and provide for a balance among
5104-459: The gallery", is sometimes used as a catch-all for these tricks. The hanamichi , and several innovations including revolving stage, seri and chunori have all contributed to kabuki. The hanamichi creates depth and both seri and chunori provide a vertical dimension. Mawari-butai (revolving stage) developed in the Kyōhō era (1716–1735). The trick was originally accomplished by
5192-579: The higher pitch of their voices. The roles of adolescent men in kabuki, known as wakashu , were also played by young men, often selected for their attractiveness; this became a common practice, and wakashu were often presented in an erotic context. The focus of kabuki performances also increasingly began to emphasise drama alongside dance. However, the ribald nature of kabuki performances continued, with male actors also engaging in sex work for both female and male customers. Audiences frequently became rowdy, and brawls occasionally broke out, sometimes over
5280-436: The human has turned into a yōkai (strange apparition) or an onryō (vengeful spirit) by activating the trick. For example, by pulling a string, the gabu , a type of head, can instantly split a beautiful woman's mouth open up to her ears and grow fangs, her eyes change to a large golden color and she grows golden horns. It is possible to represent the transformation of a woman into hannya (female demon) in
5368-428: The kabuki industry for generations. The kimono the actors wear for their costumes are typically made with vibrant colours and multiple layers. Both otoko and onnagata wear hakama - pleated trousers – in some plays, and both use padding underneath their costumes to create the correct body shape for the outfit. Kabuki makeup provides an element of style easily recognizable even by those unfamiliar with
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#17327881218665456-408: The left side is referred to as the shimote (stage right). The puppets are made to appear and then leave the stage through the small black curtains. The blinded screens are just above these small curtains, and they have special blinds made from bamboo so that the audience cannot see inside. The joshiki-maku is a large, low hanging curtain hanging off of a ledge called the san-n-tesuri . It
5544-428: The looks of samurai or nobility and the use of luxurious fabrics, the kabuki costumes were groundbreaking new designs to the general public, even setting trends that still exist today. Although the earliest kabuki costumes have not been preserved, separate otoko and onnagata kabuki costumes today are made based on written records called ukiyo-e and in collaboration with those whose families have been in
5632-662: The majority of kabuki troupes have remained entirely-male. The introduction of earphone guides in 1975, including an English version in 1982, helped broaden the artform's appeal. As a result, in 1991 the Kabuki-za, one of Tokyo's best known kabuki theaters, began year-round performances and, in 2005, began marketing kabuki cinema films. Kabuki troupes regularly tour Asia, Europe and America, and there have been several kabuki-themed productions of Western plays such as those of Shakespeare . Western playwrights and novelists have also experimented with kabuki themes, an example of which
5720-495: The mid-1600s. Adult male actors, however, continued to play both female and male characters, and kabuki retained its popularity, remaining a key element of the Edo period urban life-style. Although kabuki was performed widely across Japan, the Nakamura-za, Ichimura-za and Kawarazaki-za theatres became the most widely known and popular kabuki theatres, where some of the most successful kabuki performances were and still are held. During
5808-490: The new stage sets, costumes, and lighting, Super Kabuki has regained interest from the young demographic. In addition, Square Enix announced a Super Kabuki adaptation of Final Fantasy X collaborating with Tokyo Broadcasting System in 2022. Entitled Kinoshita Group presents New Kabuki Final Fantasy X and part of celebrations of the Final Fantasy franchise's 35th anniversary, it is scheduled to be performed at
5896-430: The next performers on the stage. In the area between upstage and downstage, there are three stage positions, known as "railings" ( tesuri ). Located in the area behind the second partition is often called the pit and it is where the puppeteers stand in order to carry out the puppets' lifelike movements. This stage looks from an angle of the audience, the right side is referred to as the kamite (stage left), while
5984-412: The next scene. The shamisen used in bunraku is slightly larger than other kinds of shamisen and has a different sound, lower in pitch and with a fuller tone. Bunraku shares many themes with kabuki . In fact, many plays were adapted for performance both by actors in kabuki and by puppet troupes in bunraku . Bunraku is particularly noted for lovers' suicide plays. The story of
6072-497: The night with them. The whole environment that gave birth to these puppet shows is reflected in the themes. The yuka is the auxiliary stage upon which the gidayu-bushi is performed. It juts out into the audience area at the front right area of the seats. Upon this auxiliary stage there is a special rotating platform. It is here that the chanter and the shamisen player make their appearance, and, when they are finished, it turns once more, bringing them backstage and placing
6160-422: The on-stage pushing of a round, wheeled platform. Later a circular platform was embedded in the stage with wheels beneath it facilitating movement. The kuraten ("darkened revolve") technique involves lowering the stage lights during this transition. More commonly the lights are left on for akaten ("lighted revolve"), sometimes simultaneously performing the transitioning scenes for dramatic effect. This stage
6248-418: The piece usually acknowledged as his most significant, Sonezaki Shinjū ( The Love Suicides at Sonezaki ), was originally written for bunraku . Like many bunraku plays, it was adapted for kabuki, eventually becoming popular enough to reportedly inspire a number of real-life "copycat" suicides, and leading to a government ban on shinju mono (plays about love suicides) in 1723. Also during
6336-419: The puppeteers originated from a very destitute background. The kugutsu-mawashi were itinerants and as a result were treated as outcasts by the educated, richer class of Japanese society at the time. As a form of entertainment, the men would operate small hand puppets and put on miniature theatre performances, while women were often skilled in dancing and magic tricks which they used to tempt travelers to spend
6424-487: The puppeteers' hoods also varies, depending on the school to which the puppeteer belongs. Usually a single chanter recites all the characters' parts, altering his vocal pitch and style in order to portray the various characters in a scene. Occasionally multiple chanters are used. The chanters sit next to the shamisen player. Some traditional puppet theaters have a revolving platform for the chanter and shamisen player, which rotates to bring replacement musicians in for
6512-564: The role of a woman. Kabuki also appears in works of Japanese popular culture such as anime . In addition to the handful of major theatres in Tokyo and Kyoto, there are many smaller theatres in Osaka and throughout the countryside. The Ōshika Kabuki ( 大鹿歌舞伎 ) troupe, based in Ōshika , Nagano Prefecture, is one example. Some local kabuki troupes today use female actors in onnagata roles. The Ichikawa Shōjo Kabuki Gekidan, an all-female troupe, debuted in 1953 to significant acclaim, though
6600-597: The script. The most famous bunraku playwright was Chikamatsu Monzaemon . With more than 100 plays to his credit, he is sometimes called the Shakespeare of Japan. Bunraku companies, performers, and puppet makers have been designated "Living National Treasures" under Japan's program for preserving its culture. Osaka is the home of the government-supported troupe at National Bunraku Theatre . The theater offers five or more shows every year, each running for two to three weeks in Osaka before moving to Tokyo for
6688-511: The stage. Kabuki stages and theaters have steadily become more technologically sophisticated, and innovations including revolving stages and trap doors were introduced during the 18th century. A driving force has been the desire to manifest one frequent theme of kabuki theater, that of the sudden, dramatic revelation or transformation. A number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations. The term keren ( 外連 ) , often translated as "playing to
6776-677: The style of dress worn by gangs of samurai . The history of kabuki began in 1603 during the Edo period when former shrine maiden Izumo no Okuni , possibly a miko of Izumo-taisha , began performing with a troupe of young female dancers a new, simple style of dance drama in pantomime , on a makeshift stage in the dry bed of the Kamo River in Kyoto In the earliest forms of kabuki, female performers played both men and women in comic playlets about ordinary life. It did not take long for
6864-517: The style to become popular, and Okuni was asked to perform before the Imperial Court. In the wake of such success, rival troupes quickly formed, and kabuki was born as ensemble dance and drama performed by women. Much of the appeal of kabuki in this era was due to the ribald, suggestive themes featured by many troupes; this appeal was further augmented by the fact that many performers were also involved in prostitution . For this reason, kabuki
6952-409: The surrounding areas, to the new location of the theatres, the inconvenience of the distance led to a reduction in attendance. These factors, along with strict regulations, pushed much of kabuki "underground" in Edo, with performances changing locations to avoid the authorities. The theatres' new location was called Saruwaka-chō, or Saruwaka-machi; the last thirty years of the Tokugawa shogunate's rule
7040-614: The theater stands on the grounds of the Suwa Shrine. The Kuroda Puppet Troupe also hosted a summer puppetry training program in 2006 for American students at the Kuroda Puppetry Hall in conjunction with the University of Missouri and the American-based Japanese theater group, Bunraku Bay Puppet Troupe . Bunraku Bunraku ( 文楽 ) (also known as Ningyō jōruri ( 人形浄瑠璃 ) )
7128-474: The time period of 1628–1673, the modern version of all-male kabuki actors, a style of kabuki known as yarō-kabuki (lit., "young man kabuki"), was established, following the ban on women and young boys. Cross-dressing male actors, known as " onnagata " (lit., "woman role") or " oyama " took over previously female- or wakashu -acted roles. Young (adolescent) men were still preferred for women's roles due to their less obviously masculine appearance and
7216-419: The voice of each of the characters, but also serves as the narrator of the play. Located to the side of the stage the tayū physically demonstrates facial expressions of each character while performing their respective voices. While performing multiple characters simultaneously the tayū facilitates the distinction between characters by exaggerating their emotions and voices. This is also done to maximize
7304-476: The young samurai patrons, shogunal authorities, who wanted to maintain order, banned women from performing on stage. Following this ban, Okuni replaced the women with boys in Kabuki performances. During the early seventeenth century, within a culture where pederasty was pervasive among samurai, her decision didn't significantly harm the theater's popularity. In fact, it may have even benefited Kabuki, as it caught
7392-456: Was also known as 'prostitute kabuki' ( 遊女歌舞妓 ) during this period. Kabuki became a common form of entertainment in the red-light districts of Japan, especially in Yoshiwara , the registered red-light district in Edo. The widespread appeal of kabuki often meant that a diverse crowd of different social classes gathered to watch performances, a unique occurrence that happened nowhere else in
7480-543: Was constructed in the 1990s by the government of Iida and is built in a traditional style. The Troupe also performs several times a year at Suwa Shrine (located next to their current hall) and the Iida Puppetry Festival. Until the construction of their new puppetry hall, the Kuroda Troupe performed in a traditional theater originally built in the late Edo period. Now designated as a national treasure,
7568-447: Was first built in Japan in the early 18th century. Seri refers to the stage "traps" that have been commonly employed in kabuki since the middle of the 18th century. These traps raise and lower actors or sets to the stage. Seridashi or seriage refers to trap(s) moving upward and serisage or serioroshi to traps descending. This technique is often used to lift an entire scene at once. Chūnori (riding in mid-air)
7656-587: Was inscribed on the UNESCO Intangible Cultural Heritage Lists in 2005. While still maintaining most of the historical practices of kabuki, Ichikawa En-ō ( 市川猿翁 ) aimed to broaden its appeal by creating a new genre of kabuki productions called "Super Kabuki" ( スーパー歌舞伎 ) . With Yamato Takeru ( ヤマトタケル ) as the first Super Kabuki production to premiere in 1986, remakes of traditional plays and new contemporary creations have been brought to local theaters throughout
7744-727: Was proclaimed by UNESCO as an intangible heritage possessing outstanding universal value. In 2008, it was inscribed in the UNESCO Representative List of the Intangible Cultural Heritage of Humanity . The individual kanji that make up the word kabuki can be read as 'sing' ( 歌 ) , 'dance' ( 舞 ) , and 'skill' ( 伎 ) . Kabuki is therefore sometimes translated as 'the art of singing and dancing'. These are, however, ateji characters which do not reflect actual etymology , being used for pronunciation. The kanji of 'skill' generally refers to
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