
Photo by Susann Schuster on Unsplash
Kabuki Theatre
c.1603 - Present Day
Introduction
Kabuki is a traditional Japanese form of theatre, incorporating dance, music, and mime. It originated in the Edo period at the beginning of the seventeenth century and was particularly popular among townspeople. Today, Kabuki is the most popular of the traditional styles of Japanese drama and is included on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. This guide explores the history of the artform, its elaborate showmanship, and the main categories of Kabuki drama.
Terminology
- Edo Period: a period between 1603 to 1868 when Japan was under the rule of the Tokugawa shogunate (a form of military rule).
- Genroku Era: an era in Japanese history from 1688 to the third month of 1704 under the reigning emperor Higashiyama-tennō.
- Hanamichi: an extended footbridge used in staging Kabuki drama.
- Jidaimono: one of the main categories of kabuki drama; early historical and legendary stories.
- Mie: a powerful and characteristic pose struck by an actor.
- Onnagata: male performers who specialize in playing female roles.
- Sewamono: one of the main categories of kabuki drama; contemporary tales post-1600.
- Shinto: the indigenous religious beliefs and practices of Japan.
- Shosagoto: one of the main categories of kabuki drama; dance dramas.
- UNESCO: the United Nations Educational, Scientific and Cultural Organization.
Key dates & Events
- 1603 - 1868 - Edo period
- 1629 - Female kabuki performers banned
- 1653 - 1725 - Lifetime of Chikamatsu Monzaemon
- 1647 - 1709 - Lifetime of Sakata Tojuro I
- 1660 - 1704 - Lifetime of Ichikawa Danjuro I
- 1673 - 1841 - Genroku period
- 1816 - 1893 - Lifetime of Kawatake Mokuami
Context & Analysis
The kabuki art form traces its roots back to the Edo Period (1603-1868) and is reliant on elaborate showmanship. It uses elaborately designed costumes, exaggerated make-up, huge wigs, and, importantly, highly stylized movements conveying meaning to the audience. Sets are intricate and dynamic, frequently using trapdoors, revolving platforms, and a footbridge (hanamichi)
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Alexandra Appleton
Writer, editor and theatre researcher