An attractive performance in Japan -Mitsumi

An attractive performance in Japan

Yamamoto Mitsumi

Have you ever seen Kabuki? Whether you are Japanese or not, you often see Kabuki pictures in post cards, guidebooks, and every shop for foreigner tourists. If I ask some foreigners who do not know much about Japan, “What do you know about Japan?” Kabuki will be one of their answers. Everyone has seen or heard about this Japanese traditional performance but how many of you have actually gone to see Kabuki? Even if you are Japanese, there is little opportunity to appreciate it. These days Kabuki seems to be considered as the performance for only older audiences, not for young people. But I want younger people to get interested in it and appreciate it. If you actually go watch Kabuki, you will be mesmerized by the beautiful performance.

Okuni created the Kabuki. She is a young lady from Izumo Shrine, whom performed in the bank of river at ancient capital of Kyoto. Through her performance, Kabuki achieved a sensation and soon its scale increased; however a number of rival groups have been appeared. Early Kabuki is much different than modern day Kabuki and interestingly it was consisted by dances performed by women. Most of these women were prostitutes offstage and finally the government banned women from the stage in an effort to protect the social condition of state. However, this banning is often seen as a good action because it focused on the importance of skills to describe beauty and focus on dance shifted to drama; which lead to making Kabuki a dramatic form of art. Another development was the appearance of onnagata, which men played women’s role.

The end of 17th century was referred to as the Genroku period and it was a time of revival in the culture of Japanese townsfolk. As the main form of theatrical entertainment for the public was valued, it was a golden age of Kabuki. The actors like Ichikawa Danjuro left strong legacies that also can be seen nowadays.

After the Genroku period, in the late 18th century, came in a trend that has changed realism as well as the cultural center from Kyoto and Osaka to Edo. One consequence of this was the change of tastes in onnagata acting. When onnagata trained in Kyoto they valued soft, gentle nature of Kyoto however, audiences in Edo preferred those who showed the strong pride and nature of Edo women.

The opening of Japan to the West in 1868 affected Kabuki. Though it was freed from numerous government restrictions, Kabuki was faced with the important challenge of how to adapt to the changing world. Actors like Ichikawa Danjuro IX tried to raise the reputation of Kabuki, which since its beginning had been seen as base by the upper classes, while others like Onoe Kikugoro V worked to adapt old styles to new tastes.

I learned in academic English class that the development of area studies has connections with the regime and the situation of the country in the world. Kabuki too has changed their form, and adapted itself to the changes of the public’s tastes. Kabuki has survived with changing Japan since Okuni won its popularities in Kyoto.