Data Bases • Custom Term Papers • Free Term Papers • Free Research Papers • Free Essays • Free Book Reports • Plagiarism? Links • Top 100 Term Paper Sites • Top 25 Essay Sites • Top 50 Essay Sites • Search 97,000 Papers @ DirectEssays.com • Search 101,000 Papers @ ExampleEssays.com • Search 90,000 Papers @ MegaEssays.com Free Essays • Term Paper Sites • Chuck III's Free Essays • Free College Essays • TermPaperSites.com • My Term Papers • Get Free Essays • Essay World • Planet Papers	Search Lots of Essays Back to Subjects - Miscellaneous kabuki kabuki One of the most important types of Japanese performing art is the kabuki play. Developed in the early 17th century, kabuki has remained a popular form of theater in Japan (Johnson 1). A maid of the Izumo Shrine created kabuki in the 1600’s (Johnson 1). The Traditional Theater of Japan written by Yoshinobu Inoura in 1981 stated that kabuki was named using Japanese characters in which "ka means song, bu means dance, and ki means skill" (218). At this time the plays consisted of females executing dancing performances (Johnson 1). These plays tried to show feelings and conflicts dealing with affection, envy and courage ("Noh and Kabuki" 1). Audiences enjoyed kabuki because the plays related to their lives (Kitazawa 4). The styles of kabuki changed though when women were first banned from kabuki. Women were prohibited because many of the performers were cheap mistresses outside of the theater and because of fights among the actresses’ courters (Graves 378, Johnson 1). The government thought this set a bad example and proclaimed that only men could perform kabuki. The restriction of females performing kabuki was a positive strategy because it stressed the significance of talent instead of attractiveness. In addition it emphasized acting instead of dancing (Johnson 1). Along with the ban also came the introduction of onnagata performers, or males that portrayed ladies. (Graves 378) Onnagata actors tried to convey the inner image of a lady instead of just imitating women (Graves 378). At an early age boys would begin learning how to be kabuki actors. Because kabuki was passed on from generation to generation, their fathers and grandfathers taught them. The boys learned the gestures and movements in the plays and how to be elegant and refined (Hamamura 106, Graves 378). These gestures appear mechanical because of kabuki’s influence from Banraku puppet theater (Kitazawa 1, Johnson 1). Since kabuki actors sometimes have to portray a female, dress and cosmetics play an important role in the performances. Costumes used are elaborate, detailed, and show the traditional dress of historical Japan. The primary form of cosmetics is called kumadori. The Asia Society’s 1988 Video Letter: Noh and Kabuki translates kumadori as "making shadows" (1). This involves spreading pale makeup over the actor’s entire face and then applying a traditional stencil of vivid pigments that express the mood or emotion of the character. Different colors also express values and traits of a character. The Asia Society’s Video Letter also explains the variety and meaning of color scheme. It says, "The two most common colors used are red, which denotes virtues such as bravery, strength, and justice, and dark blue, which expresses negative traits like jealousy and fear. Black, terra-cotta, bronze, and gold are common as well." (1). ("Noh and Kabuki" 1) Another way that emotions were shown in kabuki was through its narrations. In kabuki a narrator usually speaks each character’s lines and explains their actions as the actor performs the movements described. This narration is accompanied by tradutitional Japanese music consisting of a shamisen (Hamamura 91). Schauwecker’s Guide to Japan defines a shamisen as "a kind of guitar with only three strings" (1). (GTJ Kabuki 1) Kabuki is performed on a stage made of a hanamichi and a rotating platform. The hanamichi is similar to a footbridge and extends through the spectators. It is primarily found in the left-hand side of the auditorium. It spans from the back to the front of the auditorium and is constructed with planks made of lumber. The hanamichi is a meaningful component in kabuki. All pieces are composed and executed with the premise that the theater will have a hanamichi. The rotating platforms contain gadgets and trapdoors to add special affects to kabuki (GTJ Kabuki 1). A positive effect of a rotating stage is that scenery modifications can be accomplished without lowering the curtain. Mood changes can occur rapidly adding to the excitement of kabuki. (Inoura 184-186). This kind of stage is still around today but other components of kabuki have been changed as the rest of the world grew and modernized. Western influence and modernization have affected kabuki greatly. When Japan broadened communications with Western nations in the mid 1800’s and after WWII, kabuki and Japan were influenced (Kitazawa 4. Many bans were lifted and the theater needed to convert to modern ways (Johnson 1). One example of change is the seating in the auditoriums. In earlier years the viewers would watch on a tatami-mat floor. However during the Meiji rule the government proclaimed that some theaters were required to have chairs and in the early twentieth century Western seating was mandatory (Inoura 184). Another change in kabuki was the atmosphere of the plays. In earlier times going to a kabuki play was casual and a way to relax and escape the suppression of the government and pressures of social class (Inoura 186). It was also a retreat for homosexuals from their prejudices (Hamamura 121). Today, however, kabuki is a formal affair. It is still popular with older generations. The television and movie generation is not used to kabuki’s unique traits and traditions (Hamamura 120, Johnson 1). Despite these changes happening around kabuki’s environment it still focuses on values of the past and maintains its traditions . This is due to the dedication of the kabuki actors (Kitazawa 1). The hard work of the pioneers of kabuki has resulted in a wonderful form of drama and a major component in Japanese culture and drama. Graves, William . "Human Treasures of Japan." National Geographic Explorer, September 1972: Hamamura, Yonezo. Kabuki. Tokyo: The Kenkyusha Press. 1966. Inoura, Yoshinobu, and Toshio Kawatake. The Traditional Theater of Japan. New York: John Johnson, Matthew. "Kabuki: A Brief History." Kabuki for Everyone. 7 pars. Online. Internet. 29 September 1998. Available: http.//www.fix.co.jp/kabuki/about..html Kitazawa, Masakuni. "The Twilight of a Tradition." MIT Press Summer 1995: 1-4 "Noh and Kabuki" Asia Society’s Video Letter from Japan: 1988. " Schauwecker’s Guide to Japan : Kabuki." 6 pars. Online. Internet. 12 November 1998. Available: http://www.japan-guide.com/e/e2090.html Bibliography: Word Count: 1021
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