KABU

KI
Kabu
Kabuki
It 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 therefore sometimes
translated as "THE ART OF
SINGING AND DANCING."
Kabuki
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
History
The history of
kabuki began in
1603, when Okuni,
a miko (young
woman in the
service of a Shinto
shrine) of Izumo
Taisha, began
performing a new
style of dance
Kabuki was also written " 歌舞妓 "
(SINGING AND DANCING
PROSTITUTE) during the Edo Period.

“Along with the change in the

performers' gender came a change in
the emphasis of the performance:
increased stress was placed on drama
rather than dance.”
In 1652, the Shogunate banned young
males in playing roles in the theater
due to their availability as prostitutes
(also to male customers).

In 1653, only mature men could

perform kabuki, which developed into
a sophisticated, highly stylized form
called yarō kabuki ( 野郎歌舞伎 ,
roughly, MEN'S KABUKI).
Two major role types developed in
the Kyoto-Osaka area:

Aragoto (rough style) was

pioneered by Ichikawa
Danjūrō (1660–1704) in
Edo.
ARAGOTO is a
bombastic style
of role, in which
the actor greatly
exaggerates
words, gestures,
and even
costumes and
makeup; its
name is derived
from a word
meaning the
reckless warrior
Wagoto (soft style) by Sakata Tōjūrō (
1647–1709)

WAGOTO features more realistic

speech and gestures, and its plays
are usually tragic romances
1673–1735: THE GENROKU
PERIOD
• The structure of a kabuki play was
formalized during this period.

• Kabuki theater and ningyō jōruri

(elaborate form of puppet theater
that later came to be known as
BUNRAKU) became closely
associated with each other during
this period, and each has since
influenced the development of the
other.
CHIKAMATSU MONZAEMON, one of
the first professional playwrights of
kabuki, produced several influential
works.
Ichikawa Danjūrō I also lived during this
time; he is credited with the
development of mie poses and mask-
Elements of Kabuki
STAGE DESIGN
2. Mawari-Butai = the revolving
stage, turns when the scene is
changed.
3. Oh-Zeri = the biggest elevator on
the Kabuki stage. Used to lift up
actors, sets, and many other things.
4. Seri = another elevator on the
stage, used for the same reasons.
4. Geza = the music box located on the
left side of the stage. All sounds and
music are played from this box.
5. Yuka = the Narration Stage.
6. Hanamichi = the stage road, the
most unique device of the Kabuki
stage, used for the apperance and
disapperance of the actors.
7. Suppon = used for the apperance of
superhuman existence.
8. Toya = the waiting room used by the
actors.
9. Kari-Hanamichi = the other stage
STAGE DESIGN
1. Mawari-Butai
2. Oh-Zeri
3. Seri
4. Geza
5. Yuka
6. Hanamichi
7. Suppon
8. Toya
9. Kari-
Hanamichi
PERFORMANCE

There are three main categories of

kabuki play:
jidai-mono ( 時代物 , historical, or pre-
Sengoku period stories),

sewa-mono ( 世話物 , domestic, or

post-Sengoku stories), and

shosagoto ( 所作事 , dance pieces).

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Vertical Horizontal
2. Rough style, pioneered by Ichikawa
1. The place where Kabuki theater Danjuro
started. 4. It means “to lean” or “to be out of
3. An elaborate form of puppet the ordinary”.
theater that influenced Kabuki 5. A miko who began performing a
plays during the Genroku era. new style of dance drama in the dry