Summary
Highlights
Kabuki theatre originated during the Tokugawa Shogunate (1603-1868), a period of peace and prosperity in Japan. It emerged as a popular art form for the new middle class, distinct from the more traditional Noh theatre. Initially, female dancer Okuni started public performances that blended dance, short playlets, and cross-dressing, evolving into 'Onna Kabuki' or Women's Kabuki. Despite its popularity, authorities outlawed women performers in 1629 due to concerns about its 'corrupting influence'. Kabuki continued in the Red Light Districts, performed by young boys and later by adult men, constantly facing government regulations aimed at suppressing its 'attractive' elements.
A typical Kabuki program, originally lasting twelve hours, was later limited to eight. It usually started with a historical drama (Jidaimono), followed by a dance, a contemporary domestic drama (Sewamono), and a comic dance. Kabuki performances were highly physical, incorporating stage combat, martial arts, and stylized poses called 'Mie'. Unlike Noh, Kabuki focused on spectacle, intricate plots, and entertainment rather than spiritual enlightenment, as described by Peter Arnott. Kabuki actors underwent rigorous training from a young age, often born into the profession, and were known for their unique 'Kata' or style. Despite being social outcasts, they were highly famous, with male actors playing female roles (Onnagata) being particularly popular.
Kabuki features specific role types: Onnagata (female roles), Tachiyaku (brave heroes), Katakiyaku (villains), and Koyaku (children). Actors do not wear masks but utilize elaborate makeup with a white base, red and black accents, and sometimes blue or brown for demons. Costumes are complex and heavy, with Onnagata often wearing multiple kimonos. Kabuki stages were wider than Noh stages and incorporated innovative elements like curtains, elevator traps, and revolving turntables for special effects. A key feature was the 'Hanamichi' or 'Flower Way', a runway extending into the audience, enhancing immersion.
Bunraku, a form of puppet theatre, developed concurrently with Kabuki, with both forms influencing each other. Bunraku puppets, initially just heads, evolved to have full bodies, moving eyes, and eyebrows, creating a remarkably lifelike appearance. Bunraku stages were large and also featured elevator traps. Each puppet was manipulated by three puppeteers dressed in black, with a hierarchical training systemrequiring decades of experience for each role. The most celebrated Bunraku and Kabuki playwright was Chikamatsu Monzaemon, known for dramatizing sensational newspaper stories, particularly 'love suicide' plays, which were eventually banned due to their potential to inspire copycat suicides.
The video recounts 'The Love Suicides at Sonezaki', a 1703 play by Chikamatsu Monzaemon based on a real event. It tells the tragic story of Tokubei, a soy sauce dealer, and Ohatsu, a courtesan, caught in a forbidden love. Tokubei's financial misfortune and dishonor lead him and Ohatsu to decide on suicide. Their final moments, depicted through subtle gestures and a melancholic song, culminate in a double suicide, forever binding them in a tale of true love that becomes a model of devotion. This story highlights the dramatic, emotional, and contemporary nature of Bunraku, a characteristic shared with Kabuki.