Kabuki (歌舞伎) is a classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama, the often-glamorous costumes worn by performers, and for the elaborate kumadori make-up worn by some of its performers.
Kabuki is considered to have begun in 1603 when Izumo no Okuni formed a female dance troupe to perform dances and light sketches in Kyoto, but developed into an all-male theatrical form after females were banned from kabuki theatre in 1629. This form of theatre was perfected in the late 17th and mid-18th century.
In 2005, the "Kabuki theatre" 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 kabuki stage features a projection called a hanamichi (花道) (lit., "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 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.[35] A number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations. The term keren (外連), often translated as playing to 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 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 was first built in Japan in the early eighteenth century.
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.[35] A number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations. The term keren (外連), often translated as playing to 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 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 was first built in Japan in the early eighteenth century.
Costumes and especially makeup are essential aspects of Kabuki theatre. Kabuki makeup is supposed to change depending on the actors’ characterization. It is important for the design of the makeup to fit the individual’s features so that it reflects their inner self. On top of this a lot of transformational makeup is used so the actor can be portrayed as the supernatural and super human. The most dramatic makeup is worn by ghosts or demons.
Actors apply their own makeup so they can get to know their character. First oils and waxes are applied. Then they coat their face with oshiri (white makeup) to give a more dramatic look and make their faces more easily seen. After that, colored and black lines are drawn to outline the eyes and mouth; there are different shapes for males and females. Most of the time the colors of the lines drawn would follow certain facial muscles. After the show, actors often press a silk cloth to their face to make a print of their makeup. These are very valued souvenirs.
Faces and sometimes bodies are painted with bold lines of red, blue or brown. Each color has a specific meaning. For example, red symbolizes strength/virtue, anger, passion and cruelty whereas blue would symbolizes evil or depression/sadness. Pink symbolizes youth and cheerfulness. Light blue/green symbolizes calmness and purple symbolizes nobility. Colors of the makeup follow a Yin/Yang symbol system. One component of this is the expression of anger. The positive extroverted Yang is shown by red stripes radiating from the center of the face. This represents vitality and hot-bloodedness along with righteousness. (However some other red patterns are used for comic and animal roles.) The negative introverted Yin is shown by indigo blue. The indigo represents anger that is held in by mature adults until it “darken[s] their heart[s] and [they] become evil” (Agostino). These characters are usually evil aristocrats, vengeful spirits, and demons.There were also different makeup styles depending on age, class, gender, mood, and personality of the role.
Tsuke refers to the sound effects created by striking a board known as a tsuke-ita, located on the kamite side of the stage, with rectangular pieces of wood. The board is hit in time with the actor’s performance, with the effect of emphasizing movements and sounds.
Most of the tsuke that aim to emphasize movements are tsuke struck in time with an actor’s mie poses. These tsuke are struck in a careful beat in time with the mie poses at the end of an act, which livens up the stage. Examples of tsuke used to emphasize sounds include the light sounds that express when a character drops something on stage, and the repeated “bata bata bata” sound used when a character is running. Performers need quite advanced skills to create tsuke integrated with each actor’s movements and breathing.
Most of the tsuke that aim to emphasize movements are tsuke struck in time with an actor’s mie poses. These tsuke are struck in a careful beat in time with the mie poses at the end of an act, which livens up the stage. Examples of tsuke used to emphasize sounds include the light sounds that express when a character drops something on stage, and the repeated “bata bata bata” sound used when a character is running. Performers need quite advanced skills to create tsuke integrated with each actor’s movements and breathing.
The name of the Edo period derives from the relocation of the Tokugawa regime from its former home in Kyoto to the city of Edo, present-day Tokyo. Female performers played both men and women in comic playlets about ordinary life. The style was immediately 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 — a form very different from its modern incarnation.
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 sex work.[2] For this reason, kabuki was also known as "遊女歌舞妓" (lit., "prostitute kabuki") during this period.
At present, regular performances are held at the National Theatre in Tokyo. The city was also home to the Kabuki Theatre (Kabuki-za), which closed in 2010. An office tower—which includes the theatre—was opened on the site in 2013. Other theatres have occasional performances. Troupes of Kabuki actors also perform outside Tokyo. There are several such companies, but their memberships often overlap. At the National Theatre the length of an average program is about four hours. The theatre stresses the importance of the play itself, trying to maintain the historical tradition and to preserve Kabuki as a classical form.