K 歌

A 舞
B 伎
T
U ,
H か
K
E ぶ
I
A き
T
R
E
What is Kabuki Theatre?
• Kabuki is an art form rich in showmanship.
It involves elaborately designed costumes,
eye-catching make-up, outlandish wigs, and
arguably most importantly, the exaggerated
actions performed by the actors. The highly-
stylized movements serve to convey meaning
to the audience; this is especially important
since an old-fashioned form of Japanese is
typically used, which is difficult even for
Japanese people to fully understand.
 The History of Kabuki
Theatre Pt. 1
• The Kabuki form dates from the early 17th century, when a female dancer
named Oukuni (who had been an attendant at the Grand Shrine of Izumo),
achieved popularity with parodies of Buddhist prayers. She assembled
around her a troupe of wandering female performers who danced and
acted. Okuni’s Kabuki was the first dramatic entertainment of any
importance that was designed for the tastes of the common people in Japan.
The sensuous character of the dances (and the prostitution of the actors)
proved to be too disruptive for the government, which in 1629 banned
women from performing. Young boys dressed as women then performed
the programs, but this type of Kabuki was suppressed in 1652, again because
of concern for morals. Finally, older men took over the roles, and it is this
form of all-male entertainment that has endured to the present day. Kabuki
plays grew in sophistication, and the acting became more subtle.
 The History of Kabuki
Theatre Pt. 2

• Eventually, by the early 18th century, Kabuki had become an established art
form that was capable of the serious, dramatic presentation of genuinely
moving situations. As merchants and other commoners in Japan began to
rise on the social and economic scale, Kabuki, as the people’s theatre,
provided a vivid commentary on contemporary society.

• The late 18th century is regarded as the golden age of Kabuki as the theatres
were full of glory, fantasy, romance & intrigue.
WHO FOUNDED KABUKI ?

Kabuki Theatre was first introduced by the

Japanese entertainer and shrine maiden,
Izumo No Okuni. She performed this new art
style of kabuki in the dry riverbed of the
Kamo river in Kyoto.
 THE STAGE
• The large revolving stage is said to have been invented in Japan in
1758, making it the oldest in the world. This revolving stage enables
very rapid changes of set, as well as more dramatic scenes in which
such things as boats can seem to move unaided from one place to the
next.

• It is equipped with several gadgets, aside from evolving stages such as

trapdoors through which the actors can appear and disappear.
Another specialty of the Kabuki stage is a footbridge (hanamachi) that
extends into the audience.
 PaRTS
Of The
theatre
Characteristics
of
Kabuki
Theatre
MUSIC

• Their particular style of music, makes Kabuki Theatre unique

as it specific to this art form only

• Many of their songs are done vocally, known as, nagauta. This
is created through song and shamisen (a type of stringed
instrument), and narimono, (instrumental ensembles) created
by many different types of instruments, especially percussion
and fue (flute).
COSTUME

• Kimono is mainly used as a costume for Kabuki.

• In addition to kimonos such as yukata and hanten that are

worn even today, as samurai costumes, a set of hakama and
kamishimo (type of jacket), are sometimes reminiscent of a
fantasy existence.
STAGE DEVICES & PROPS

• There is a wide variety of props, including umbrellas, tenugui (hand-cloths)

and swords. Among them, the sensu (folding fan) is an essential prop and is
often used in suodori, in which costumes and stages, as well as props, are
simplified.

• Stage Devices:
Mawaributai (revolving stage) Seri (stage elevator)
Naraku (below-stage basement) Kuromisu (musicians' room)
Yuka (Narrators' floor) Joshiki-Maku(regular stage curtain)
Hanamichi (walkway) Suppon (small elevator)
Agemaku (entrance curtain)
SPECIFIC PLAYS

• There are three main types of Kabuki Plays:

Jidaimono
Sewamono
Shosagoto
LANGUAGE

• Kabuki actors use exaggerated, theatrical language that adds

an element of drama and emotion to their performances. This
style of speech, called yobikake , has its roots in the Noh
theater tradition and has developed over the centuries to fit
the unique style of Kabuki .

• They often speak in a monotone voice during performances.

Acting Styles

• In order to show rising emotions and other expressions, the

actor pauses while making a temporary pose during the
performance, which has the effect of creating a closeup of the
character.

• Some Kabuki acting styles are truly unique and can be seen in
no other art form! For example, the colourful lines of makeup
on the actors' faces and bodies, the grand poses, larger than
life movements, as well as the shrill screams you sometimes
hear are all thrilling in their impact!
 • Jidai-mono are plays based on subject matter far different from the lives
TYPES of the townspeople who made up the main audience for Kabuki during the
Edo Period. Such plays were based on incidents concerning samurai or
OF court nobles' society, and other happenings long before the Edo Period.
However, these plays used events and names from more ancient times to
KABUKI avoid the Tokugawa shogunate’s bans and taboos of stories about more
recent incidents. These plays were also not always true to historical facts.
PLAYS Liberal use was made of literature based on history or legends, and then
the common practice was for playwrights to creatively rewrite history.
(IN
DETAIL)
TYPES
• Sewa-mono refers to contemporary plays. It is repertories that based on
OF subjects and events reflecting the social conditions and customs of the
common people. Usually, realistic productions and acting were used to
KABUKI portray the conflict of love or stories of duties in common people’s
everyday lives.
PLAYS
(IN
DETAIL)
 • Shosagoto refers to dances or dance dramas. Kabuki developed from a
TYPES style of dance, in some cases plays are created purely as dance
performances. In others, the dance portions of plays are produced
OF separately and performed as independent programs. Only the dancing of
female characters was presented in the early days. From the late 18th
KABUKI century, however, the dances of male characters were also performed.
This led to a programs in which a single actor danced several different
PLAYS characters. Those programs are known as henge-buyo (transformation
dances).
(IN
DETAIL)
Classification of Plays by Origin

01
Gidayu-kyogen

Kabuki plays in this category were

adapted from Ningyo-
joruri (Japanese puppet theatre).
They are also known as maruhon-
mono. Stories in this style are
moved along by narration known
as takemoto (gidayu-bushi) and
characterized by a great deal of
musical and stylized acting and
stage direction.
Classification of Plays by Origin

02
Jun-kabuki
Jun-kabuki refers to works
written as Kabuki productions,
as opposed to those developed
from other performing arts.
Most of the productions from
the Bunka and Bunsei Period
(during the first half of the 19th
century) written by playwrights
such as the Tsuruya Namboku
IV and Kawatake Mokuami
belong to this category.
Classification of Plays by Origin

03
Shin-kabuki
Shin-kabuki refers to plays written
from the middle of the Meiji Period
(early 20th century) onward by
playwrights with no direct ties to
Kabuki until that time. Works with
strong literary touches and influenced
by Western theatre and novels were
performed with modern acting and
production techniques. Kabuki plays
written after World War II, meanwhile,
were placed in a separate category.
CONVENTIONs
of
Kabuki
Theatre
ORIGIN TRADITIONS AND HOW
THEY CHANGED OVER TIME

When it originated, kabuki was acted only by women and was popular mainly among
common people. Later during the Edo Period, a restriction was placed by
the Tokugawa Shogunate forbidding women from participating; to the present day it
is performed exclusively by men. Several male kabuki actors are therefore
specialists in playing female roles (onnagata).
 THE
EDO
PERIOD
• The Edo period/Tokugawa period: is the period between 1603 and
1868[1] in the history of Japan, when Japan was under the rule of
the Tokugawa shogunate and the country's 300 regional daimyo.
Emerging from the chaos of the Sengoku period, the Edo period was
characterized by economic growth, strict social
order, isolationist foreign policies, a stable population, perpetual peace,
and popular enjoyment of arts and culture, colloquially referred to as
Oedo.

• The period derives its name from Edo (now Tokyo), where on March 24,
1603, the shogunate was officially established by Tokugawa Ieyasu. The
period came to an end with the Meiji Restoration and the Boshin War,
which restored imperial rule to Japan.
K
U
M
A
D
O
R
I
Kumadori is makeup used for theatrical performances. Specifically,
Kabuki — a stylized form of Japanese theater, which is known for its
spectacular drama and the intricate makeup worn by the actors.
Kumadori makeup emphasizes the actors' underlying muscles and
veins to evoke dramatic emotions and expressions.
K Types
U of
M
A
D
O
R
I
Mukimiguma

• Mukimiguma makeup has red beniguma and

is used for roles that are full of youthful
sensuality and have a strong sense of
justice. This makeup is known
as mukimiguma because the simple shapes
resemble mukimi, shellfish without shells.
IPPONguma

• Ipponguma makeup has red beniguma, and is

used for roles that are strong and reliable,
but also rough and rascally. This style is
called ipponguma (“one kuma”) because only
one vertical kuma is drawn.
A kuma representing a double-chin is also
drawn beneath the jaw.
sujiguma
• Sujiguma makeup has red beniguma and is
used for roles that are heroes with super-
human strength, filled with intense anger. It
is called sujiguma because several red kume
are drawn sweeping upwards over the lines
of the face (suji). A triangle in red is added
on the chin and black ink is drawn on the
corners of the mouth.
Kagekiyo no kuma

• These kumas are used for roles that are valiant

heroes, but have been captured and imprisoned
by their enemies and have become pale and thin.
It is named after the character kagekiyo. The
actor’s face is painted with a white base colour
and the red beniguma the same shape as those
used in sujiguma, drawn on the upper half of his
face, but those on the lower half are indigo blue.
kugeare

• This makeup is used for roles of great

villains with high status who are trying to
take over the country. The indigo blue
aiguma gives a cold and eerie impression.
akattsura

• These kuma are used for the role of

thoughtless thugs who are the retainers or
subordinates of great villains.
chaguma

• These light brown chaguma are for roles in

which humans transform into entities that
are not of this world, such as: monsters,
spirits or vengeful ghosts.
saruguma

• These kumas are for the roles of heroic

samurai who are comical and humorous
despite their status.
namazuguma

• These kuma are used for roles that are

dimwitted and make the audience laugh
despite their villainy.
ADDITIONAL
INFORMATION
KABUKI THEATRE VS NOH THEATRE

Japanese Kabuki was regarded as an entertainment for a broad audience

as well as the towns people in Edo and the other major cities like Osaka
and Kyoto. Whereas, Noh Theatre Plays, were made available only to the
aristocrats and persons of the samurai class. Another huge difference is
the use of masks in Noh Theatre as opposed to the kumagori in kabuki.

Noh Theatre

Kabuki Theatre
 KABUKI THEATRE
& UKIYO-EVS NOH THEATRE

Japanese
• The KabukiKabuki waswere
Theatres regarded
closelyasconnected
an entertainment for which
to Ukiyo-e, a broad audience
asthe
is wellart
asofthetraditional
towns people in Edowoodblock
Japanese and the other major cities
printmaking. Thelike Osaka
and Kyoto.
Kabuki Whereas,
Theatres wereNoh Theatre
by far, Plays,important
the most were made available only to the
aristocrats andofpersons
commissioners of theprints.
woodblock samurai class. Another huge difference is
the use were
• Ukiyo-e of masksusedinfor
Nohadvertising,
Theatre asannouncing
opposed to theatre
the kumagori in kabuki.
performances and the portraits of renown actors.
• One school however, was completely specialized in Kabuki
subjects. They were called the “Osaka School”.

Example of a
Ukiyo-e Print
Noh Theatre

Kabuki Theatre
 KABUKI THEATRE
KABUKI TODAY & UKIYO-EVS NOH THEATRE

Many old & traditional

Japanese
• The art forms
Kabuki Kabuki stillwas
Theatres remain
regarded
were popular
closely asconnected
an
to entertainment
this day. for which
to Ukiyo-e, a broad audience
However, this mayis
asnotwell
the be as
artthe
ofthe
case
townsfor people
traditional Kabuki, inasEdo
Japanese thewoodblock
and
younger
the other major cities
printmaking. Thelike Osaka
generations are straying
and Kyoto.
Kabuki away Whereas,
Theatres fromwere theNoh
artfar,
by Theatre
form theover
Plays,
most timewere
andmade available only to the
important
developing a lack commissioners
of
aristocrats
interest inandperforming.
ofpersons
woodblockof theprints.
samurai class. Another huge difference is
the use were
• Ukiyo-e of masks usedinfor Nohadvertising,
Theatre asannouncing
opposed to theatre
the kumagori in kabuki.
Though organizationss may be able
performances andtothesupply the finances
portraits of renown to sponsor
actors.
new theatres •& plays, as wellhowever,
One school as provide wasaudiences
completely to take advantage
specialized of
in Kabuki
these commodities, one cannot
subjects. Theyavoidwerethe impression
called the “Osaka thatSchool”.
many of the
stories which attracted people in the bygone era do not stir interests in
the contemporary western ideas.

As technology has advanced, their stage tricks and pageantry haveofbeen

Example a
disregarded as they are simply no longer needed. Ukiyo-e Print
Noh Theatre

Kabuki Theatre
KABUKI KABUKI
TODAY & UKIYO-E
THEATRE
ARAGATO & WAGOTO VS NOH THEATRE

Thereold
Many are&two distinctively
traditional
Japanese different
art forms
Kabuki styles
stillwas
remain ofpopular
regarded acting for maleday.
asconnected
an
to entertainment
this for which
a broad audience
• The Kabuki Theatres were closely to Ukiyo-e,
actors: this mayasnitwell
However, is thebeart
as
theofthe
casetowns
for Kabuki,
traditional people in
asEdo
Japanese thewoodblock
and
younger
the other major cities
printmaking. Thelike Osaka
• Aragato are straying
generations and Kyoto.away Whereas,
from theNoh
artfar,
Theatre
form
Kabuki Theatres were by theover
Plays,
most timewere
andmade available only to the
important
• Wagotoa lack of
developing aristocrats
interest inandperforming.
commissioners ofpersons
woodblockof theprints.
samurai class. Another huge difference is
the use were
• Ukiyo-e of masks usedinfor Nohadvertising,
Theatre asannouncing
opposed to theatre
the kumagori in kabuki.
Aragato:organizationss
Though represents characters
may be able who are the the
superhero type seen
performances andtothesupply
portraits finances
of renown to sponsor
actors.
in jidaimono
new theatres&•&recognized
plays, by their
as well distinctive
as provide kumadori
audiences make-up,
to take advantage of
One school however, was completely specialized in Kabuki
paintedcommodities,
these in stripes ofonered,cannot
black &avoidblue on the face, arms and legs.of the
subjects. They werethe impression
called the “Osaka thatSchool”.
many
Their voices
stories whichare powerful
attracted & exaggerated,
people in the bygone bellowing
era do &notbraying their in
stir interests
oftencontemporary
the nonsensical lines. Their
western wigs & costumes are exaggerated to
ideas.
increase the actor’s physical scale
As technology has advanced, their stage tricks and pageantry haveofbeen
Example a
Wagoto: they are often played by onnagata & are
disregarded as they are simply no longer needed. much more
Ukiyo-e Print
sensitive, restrained & romantic in feel.
Noh Theatre

Kabuki Theatre
ARAGATO WAGOTO WAGOTO
 THE END

Any Questions?