Kabuki

(歌舞伎, kabuki) is a form of traditional Japanese theatre . Kabuki theatre is known for the stylization of its drama and for the elaborate make up worn by its performers. The individual kanji characters, from left to right, mean sing (歌), dance (舞), and skill (伎). Kabuki is sometimes translated as "the art of singing and dancing." These are, ateji, characters that do not reflect actual etymology. The word kabuki is believed to derive from the verb kabuku, meaning "to lean" or "to be out of the ordinary", so kabuki can be interpreted to mean "avant-garde" or "bizarre" theatre. The expression kabukimono (歌舞伎者) referred originally to wild urban gangs of young eccentrics who dressed outrageously and had strange hairstyles.

History

In the 17th century, this traditional art form was created by Okuni, a female shrine attendant. Although greatly influenced by the aristocratic noh, kabuki was largely popular entertainment for the masses. A large part of the popularity of the early, all female performances was due to their sensual nature. The performers were also prostitutes and male audiences often got out of control. As a result, women were banned from performing by the Tokugawa Shogunate. Ironically, the young male actors who took over kabuki also engaged in prostitution and audience disturbances continued to break out. Besides that, based on kyogen, the Shogunate clamped down and troupes composed of older actors were required to perform more formalized and strictly theatrical dramas. In addition, the changes were made to the traditional noh stage, such as adding a draw curtain and a hanamichi (catwalk) through the audience to allow dramatic entrances and exits.




Widely considered as Japan's greatest dramatist, Chikamatsu Monzaemon (1653~1724) spent the mid-part of his career writing kabuki dramas, although his greatest works were bunraku puppet plays. When he returned to bunraku, fans went with him and kabuki actors began to incorporate elements of bunraku in an attempt to woo them back. Among the great kabuki dynasties, the Ichikawa Danjuro line is perhaps the best known and continues to this day. Ichikawa Danjuro II (1688~1758) premiered many great works and adapted puppet plays for the kabuki stage. Successors played a huge part in raising the status of kabuki in society. Other great acting dynasties include Onoe Kikugoro and Bando Tamasaburo.

The actors who play female roles are known as onnagata or oyama (such as National Living Treasure Nakamura Jakuemon, left, born in 1920). As kabuki gained a level of respectability, the importance of these roles increased. The first great onnagata was Yoshizawa Ayame I (1673~1729). Many of the great kabuki actors have built their reputations solely on these roles. The performances are not so much 'acting' in the Western sense as stylized representations of female beauty or virtue. While early onnagata were required to maintain their feminine persona and dress even in their private lives, this practice was abolished in the Meiji Restoration of 1868.

Kabuki is performed on a large, revolving stage and has such familiar stage devices as scenic backdrops and trapdoors for surprise entrances. Kamite (stage left) is often where you will see the important or high-ranking characters, while shimote (stage right) is occupied by lower-ranking characters. Actors perform kata (forms) as they have been performed throughout the generations. An example is mie or striking an attitude, often with one's eyes crossed and an exaggerated expression for dramatic effect.

In the mid-18th century, kabuki fell out of favor for a time, with bunraku taking its place as the premier form of stage entertainment among the lower social classes. This occurred partly because of the emergence of several skilled bunraku playwrights in that time. Little of note would occur in the development of kabuki until the end of the century, when it began to re-emerge.

Below are some images shown that a demostration of apply the make up.

posted by hooi yin ^.^