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This technique is often used to lift an entire scene at once. This is similar to the wire trick in the stage musical Peter Pan , in which Peter launches himself into the air.
Scenery changes are sometimes made mid-scene, while the actors remain on stage and the curtain stays open. This technique originated at the beginning of the 18th century, where scenery or actors move on or off stage on a wheeled platform.
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, 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 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.
Jidaimono , or history plays, were set within the context of major events in Japanese history. Strict censorship laws during the Edo period prohibited the representation of contemporary events and particularly prohibited criticising the shogunate or casting it in a bad light, although enforcement varied greatly over the years.
Frustrating the censors, many shows used these historical settings as metaphors for contemporary events. Unlike jidaimono which generally focused upon the samurai class, sewamono focused primarily upon commoners, namely townspeople and peasants.
Often referred to as "domestic plays" in English, sewamono generally related to themes of family drama and romance. Some of the most famous sewamono are the love suicide plays, adapted from works by the bunraku playwright Chikamatsu; these center on romantic couples who cannot be together in life due to various circumstances and who therefore decide to be together in death instead.
Many if not most sewamono contain significant elements of this theme of societal pressures and limitations. An even greater compliment can be paid by shouting the name of the actor's father.
This is called hara-gei or "belly acting", which means he has to perform from within to change characters. It is technically difficult to perform and takes a long time to learn, but once mastered the audience takes up on the actor's emotion.
Emotions are also expressed through the colours of the costumes, a key element in kabuki. Gaudy and strong colours can convey foolish or joyful emotions, whereas severe or muted colours convey seriousness and focus.
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 color of the kumadori is an expression of the character's nature: Kabuki, like other traditional forms of drama in Japan and other cultures, was and sometimes still is performed in full-day programs.
Rather than attending for 2—5 hours, as one might do in a modern Western-style theater, audiences "escape" from the day-to-day world, devoting a full day to entertainment.
Though some individual plays, particularly the historical jidaimono , might last an entire day, most were shorter and sequenced with other plays in order to produce a full-day program.
The structure of the full-day program, like the structure of the plays themselves, was derived largely from the conventions of bunraku and Noh , conventions which also appear in other traditional Japanese arts.
The concept, elaborated on at length by master Noh playwright Zeami , governs not only the actions of the actors, but also the structure of the play as well as the structure of scenes and plays within a day-long program.
Nearly every full-length play occupies five acts. The first corresponds to jo , an auspicious and slow opening which introduces the audience to the characters and the plot.
The final act, corresponding to kyu , is almost always short, providing a quick and satisfying conclusion. It was not uncommon in kabuki to insert or remove individual scenes from a day's schedule in order to cater to the talents or desires of an individual actor—scenes he was famed for, or that featured him, would be inserted into a program without regard to plot continuity.
Kabuki traditions in Edo and in Kamigata the Kyoto-Osaka region were quite different. Through most of the Edo period, kabuki in Edo was defined by extravagance and bombast, as exemplified by stark makeup patterns, flashy costumes, fancy keren stage tricks , and bold mie poses.
Kamigata kabuki, meanwhile, was much calmer and focused on naturalism and realism in acting. Only towards the end of the Edo period in the 19th century did the two regions adopt one another's styles to any significant degree.
Actors form schools or are associated with a particular theatre. Every actor has a stage name, which is different from the name they were born with.
These stagenames, most often those of the actor's father, grandfather, or teacher, are passed down between generations of actors' lineages, and hold great honor and importance.
Many names are associated with certain roles or acting styles, and the new possessor of each name must live up to these expectations; there is the feeling almost of the actor not only taking a name, but embodying the spirit, style, or skill of each actor to previously hold that name.
Many actors will go through at least three names over the course of their career. Most often, a number of actors will participate in a single ceremony, taking on new stage-names.
From Wikipedia, the free encyclopedia. This article is about Japanese theater. For American political pretense, see Kabuki dance.
For other uses, see Kabuki disambiguation. Not to be confused with noh theater. This section needs additional citations for verification.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
June Learn how and when to remove this template message. Yale-New Haven Teachers Institute. Retrieved April 9, An Outline History of the Japanese Drama.
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Seasoned with teriyaki sauce. A rich blend of music, dance , mime, and spectacular staging and costuming, it has been a major theatrical form in Japan for almost four centuries.
The term kabuki originally suggested the unorthodox and shocking character of this art form. In modern Japanese, the word is written with three characters: These actors have carried the traditions of Kabuki from one generation to the next with only slight alterations.
The nagauta form of lyric music, like most of the narrative forms, began with a close relation to the Kabuki popular theatre of the Tokugawa period.
The first Kabuki performances used instruments hayashi from the Noh drama. Because Kabuki was related to the…. The Kabuki form dates from the early 17th century, when a female dancer named Okuni who had been an attendant at the Grand Shrine of Izumo , achieved popularity with parodies of Buddhist prayers.
She assembled around her a troupe of wandering female performers who danced and acted. The sensuous character of the dances and the prostitution of the actors proved to be too disruptive for the government, which in banned women from performing.
Young boys dressed as women then performed the programs, but this type of Kabuki was suppressed in , again because of concern for morals.
Finally, older men took over the roles, and it is this form of all-male entertainment that has endured to the present day.
Kabuki plays grew in sophistication, and the acting became more subtle. Eventually, by the early 18th century, Kabuki had become an established art form that was capable of the serious, dramatic presentation of genuinely moving situations.
Bugaku , the dance ceremony of the imperial court, and the Noh theatre , both of great antiquity, were long the exclusive domain of the nobility and the warrior class known as samurai; Kabuki became the theatre of the townspeople and the farmers.
Bugaku and Noh have a fragile elegance and an extreme subtlety of movement. Kabuki is somewhat coarse and unrestrained, and its beauty is gaudy and extravagant.
During this period a special group of actors, called onnagata , emerged to play the female roles; these actors often became the most popular of their day.
Traditionally, a constant interplay between the actors and the spectators took place in the Kabuki theatre.
The actors frequently interrupted the play to address the crowd, and the latter responded with appropriate praise or clapped their hands according to a prescribed formula.
They also could call out the names of their favourite actors in the course of the performance. Because Kabuki programs ran from morning to evening and many spectators often attended for only a single play or scene, there was a constant coming and going in the theatre.
At mealtimes food was served to the viewers. The programs incorporated themes and customs that reflected the four seasons or inserted material derived from contemporary events.
Unlike most Western theatres, in which since the late 17th century a proscenium arch has separated actors and audience, the Kabuki performers constantly intruded on the audience.
When two hanamichi , elevated passageways from the main stage to the back of the auditorium , were used, the audience was fenced in by three stages.
Kabuki subject matter creates distinctions between the historical play jidaimono and the domestic play sewamono. A Kabuki program generally presents them in that order, separated by one or two dance plays featuring ghosts, courtesans, and other exotic creatures.
Thus, the plays often present conflicts involving such religious ideas as the transitory nature of the world from Buddhism , and the importance of duty from Confucianism , as well as more general moral sentiments.
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