Kabuki
Kabuki theatre began as an easily accessible popular entertainment at a time when Japan’s other main theatrical tradition, Noh, was targeting a more refined audience. Kabuki’s first form was as an all-female creation led by Okuni in 1603. It wasn’t long before the eroticism of the events, including portraying lovers with women dressed as men, led to a ban by the shogun of any woman appearing onstage. The second form of Kabuki suffered the same fate, albeit from the other side: young boys were portraying stories of love, with the boys dressed as women. Finally, in 1654 adult men took over the form and by the end of the 17th century Kabuki had become a highly regarded theatrical form where dance helped to supplement the acting-out of stories. Overall, Kabuki theatre’s development was not unlike that of the Elizabethan theatre, which not only had to address issues of all male performers, but also used dance to enhance a story’s presentation. Kabuki (the word means “deviant” or “not quite straight”) borrowed some elements from Noh and puppet theatre, but Kabuki sets are significantly more elaborate and the stage action more visceral. A stage platform is at the center, with a long connecting bridge for dramatic entrances and elaborate processions. The stories are pulled from legendary history, tales of battles and love. The three most famous Kabuki writers were Chkamatsu, Takedo Izumo, and Kawatake Mokuami. A Kabuki play can take up to twelve hours to perform, although it is not uncommon for audience members to come and go during the day. Actors use make-up to make their faces appear as a mask, with different colors and lines denoting different kinds of characters. The same stylized meanings apply to the movement, costumes, and setting – for example, a white mat denotes snow; a blue mat, the sea. Black robed assistants, or kurombo, “invisible men,” help move props on and off the stage. The physical demands on the actors is extreme, and many begin training by the age of six. Since they have incredible acrobatic skills, Kabuki trained actors easily find extra work as stunt men in films. One tradition has stayed constant through Kabuki’s five centuries of development - actor families are at the center of each Kabuki theatre.
