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Literally “song-dance-skill” from 19th c., Kabu 歌舞 from 10th c.,
Kabusu, kabuku as slang terms in 16th c. (verbs being deviant or twisted as a way to call attn to self), mainly pejorative in 17th c. generally referred to risqué dances, trick to lure customer in
Not coined until 1800s, chanting and dance |
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| priestess from izumo, front for dance troupe meant to entertain, only public performances to collect money was for religious purposes, tax benefits |
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| festival like dances that devolve into prostitute come-ons |
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| yûjô (onna) kabuki “pleasure woman kabuki” |
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-遊女歌舞伎: Onna kabuki 女歌舞伎, or Yûjo kabuki
遊女歌舞伎 modeled on Okuni’s dances
-develops after Okuni’s death in ca. 1610. – death shrouded in mystery, duplicate okuni taken over, others took the same name,
-Performances as preview shows- bidding wars after the show, date masamune said to have bought a whole troupe
-eventually all women banned from stage in 1629- fought over by high ranking samurai, remove problem by removing women from stage |
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| wakashu kabuki “young man kabuki” |
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若衆歌舞伎): Develops after ban on females,
original plays and humorous acts but similar quarrels over actors ensue, wakashu banned
from stage in 1654.
catamite
ID by long forelocks, homosexual relationships
Original plays and humorous acts- playwrights attach name to plays, have a storyline
Similar quarrels over star actors ensue with violent outbreaks,
Wakashu banned from stage in 1654- Tokugawa Iemitsu |
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| yarô kabuki “kabuki of men” |
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Develops after wakashu are banned
vehicles for literary adaptation rather than sexual ostentation, homosexual aspect goes into decline
onnagata coveted in general
literary and theatrical elements go on the rise
-results in genuine theater. |
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元禄時代の歌舞伎: 1688-1703
-more generally 1675-1725
-developments in storylines and acting- developments in urban culture esp. Edo
Chikamatsu wrote for bunraku but many adapted for kabuki- text read by narrator, shamisen and movements were strictly practiced
Playwright but no play script, text of secondary importance, text taught orally (what they’re generally supposed to say = improvised) playwright working with actor trainers, kabuki is centered on actor (nowadays scripts are set)
-regional stylistic divisions between Kansai and Kantô |
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| Hanamichi- off to stage right- makes difference in view of actors |
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| Sakata Tôjûrô wagoto “soft style” |
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Sakata Tôjûrô 坂田藤十郎 (1647-1709):
-Based in Kyoto-Osaka, known for wagoto 和事 “soft” acting style (dandy- stylish playboy with money to spare) okuni style shows, form of melodrama, relatively subdued makeup
-specialized in sewamono set in the pleasure quarters- chikamatsu wrote a lot of plays for him
yakusharongo- notes about acting |
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| Ichikawa Danjûrô aragoto “bravura style” |
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Ichikawa Danjûrô市川団十郎 (1660-1704):
-Based in urban Edo, wrote plays for himself to show off
-known for aragoto 荒事 “rough” or ”bravura” acting style. Default style Kinpira**
deliberate yelling, elaborate and farfetched makeup and costuming, expansive gestures and motions |
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| Yakusha rongo “The Actor’s Analects” |
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bold makeup in aragoto style kabuki,
symbolic use of red, black, brown and indigo, actors do their own makeup, thick lines = bravery, hairlines to eyes = fierce (red), wickedness/treachery (blue)
Body painted to outline muscles |
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| actor strikes pose with eyes crosses, signify just about to begin or just completed straining task, freeze frame technique, based on fudou myo ou 不動明王 the immovable one, major god in japanese Buddhist pantheon |
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| roppô “six-direction swagger” |
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| touzainanboku tenchi, when aragoto actor enters or leaves stage, parade down hanamichi |
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| kabuki jûhachiban “Kabuki 18” |
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| matsubamemono “pine board piece” |
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| kabuki plays with origin in noh ex Ataka |
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| Yagô 屋号“house name” or stage name of actor (e.g. “Yoshinoya”) usually ends in “ya” |
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| monotsukushi “exhaustive listing” |
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| kanjinchou- benkei’s ad libbing scene |
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| author of great favorite subscription list (in reader), main difference- plot involves benkei getting captured, but he escapes in potato washing scene (imo arai) |
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Members of the playwright team for Takemoto theater
Namiki Sôsuke (Senryû)
Takeda Izumo II
Miyoshi Shôryaku |
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| The House of the Sugawara |
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| “Three Masterpieces of Bunraku” |
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House of Sugawara (1746)
Yoshitsune Senbonzakura (1747)
Treasury of Loyal Retainers (aka 47 ronin) (1748) |
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| yoshitsune senbonzakura- fox transformation scene |
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| used for ghosts, apparitions or animals in kabuki plays, more modern development |
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| yoshitsune senbonzakura, male actor playing female role |
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| author of noh play Ataka, belongs to Kanze school of noh |
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