Kabuki
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In this edition of topic of the week, we hope to give you background
information on kabuki, the components of the Gion Corner presentation,
and other theatrical and art forms which you might encounter while you are
in Japan. These descriptions are by no means exhaustive, but hopefully will
give you information which will enhance your enjoyment and understanding of
them.
Kabuki
Kabuki
traces its roots to the early 17th century when a woman by the name of Okuni
of Izumo began dancing on the banks of the Kamogawa (Kamo River) in Kyoto. Okuni
was a prostitute, and she and her "colleagues" danced to attract paying
customers. These entertainers and their male devotees were the avant-garde leaders
in fashion, music and dance of the time, and projected an image similar to the
punk-rockers of today. The dances soon turned into stories and became popular,
attracting great crowds. The government was not particularly pleased that these
women of ill repute were flaunting their wares in public, and they banned women
from these performances. Since that time, kabuki has been all male. Kabuki
continued to be the most popular form of stage entertainment through the Edo
period. Through a magnificent blend of play acting, dance, and music, kabuki
today offers an extraordinary spectacle combining form, color, and sound.
Today kabuki is alive and well, attracting great crowds at private theaters
in the major cities, particularly Tokyo and Kyoto. Top kabuki actors
have star status; they have fan clubs, make TV commercials, are often the topic
of tabloid gossip, and command high fees for their acting, public appearances,
and teaching. Kabuki performances are broadcast regularly on NHK, and
kabuki appreciation seminars, courses and books are widely available.
Although women are not allowed to appear in professional kabuki productions,
they do study aspects of kabuki, particularly the dances, and perform
them out of context as individual dances, sometimes as professionals. In fact,
many of the teachers of professional kabuki actors are women.
Actors and roles: There are numerous role types in kabuki, and actors
usually specialize in one (or sometimes more) styles. The most famous role type
is that of onnagata-actors who specialize in women's roles. The most
celebrated actors are often onnagata, and it is said that onnagata
are more feminine than women. Although at one time onnagata may have
lived their private as well as their professional lives as women, today they
live their private lives as men.
Actors' names: Actors have professional, or stage, names which they are given
by their teachers. Traditionally, some names have been associated with the top
actors, and these names are today handed down from an actor to his successor.
These names are hereditary, and are traditionally passed from father to son.
Today it's possible that successors are not blood relatives, but it's not uncommon
for an actor to formally adopt (even as an adult) his preferred successor.
Yago: During a kabuki performance you may hear people in the audience
shouting things. They are shouting yago, or a nickname traditionally
associated with a particular actor (or today, an actor who has taken that name).
The purpose is the same as clapping or yelling "bravo," but by shouting
the actor's nickname, the audience is showing admiration for a particular actor.
Yago have become standardized and there are designated spots where shouting
yago is appropriate. Only professionals and highly knowledgeable amateurs
know when to shout which yago, so theaters will often give free tickets
to aficionados whose job it is to shout yago.
Stage: Kabuki stage settings can range from quite bare to stylized to
realistic. The only thing that a theater must have is a hanamichi ("flower
road") leading from the stage through the audience to the back of the hall.
The hanamichi is often the scene of dramatic high points in a story and
the entrance and exit of important characters.
Music: There are several types of music, each performed by a different stylistic
school of musicians, which are used in kabuki. They can be generally
divided into narrative styles, that is, music whose main purpose is to convey
the story, and songs, whose texts may only marginally be related to the story.
The most well-known type of kabuki music is nagauta, which literally
means "long song" and accompanies dance.
The musical instruments used in kabuki include the three-stringed shamisen,
otsuzumi ("large drum" held at the waist and played with the
hand), kotsuzumi (small drum held on the shoulder and played with the
hand), taiko (floor drum played with two thick sticks) and fue
(transverse bamboo flute). In addition a large selection of percussion instruments
may be used to create sound effects.
The musicians in kabuki may be seated on stage in any position on the
stage, to the side of the stage but in full view, or backstage. In some plays
or scenes within a play, particularly dance scenes, music is very important
and the musicians are prominently featured. In other scenes or plays there may
be very little music. Occasionally other instruments such as the koto
may be used in a specific play, but these instances are extremely rare.
We will attend the afternoon performance at the Kabuki-za
Theater in Ginza. Inside the theater building you will find not only the
theater, but also restaurants, bento and snack vendors, and numerous
souvenir shops. You can also buy the official program in Japanese or English.
The plays we will see are Suzugamori (The Execution Ground at Suzugamori-an
actual place in Tokyo) and Soga Moyo Tateshi no Goshozome (The Soga Design
and the Gallant's Dyed Kimono-better known as Gorozo the Gallant). This program
is a special one and we are very fortunate in that many of the great kabuki
stars will be performing. Famous actors appearing in these plays include Ichikawa
Koshiro, Kataoka Nizaemon, Ichikawa Somegoro, Ichikawa Danshiro, Ichikawa Somegoro
and one of the biggest of them all, Bando Tamasaburo.
A good reference book is Kabuki: Backstage, Onstage, by Nakamura Matazo,
translated by Mark Oshima. Nakamura Matazo is a kabuki actor who lectures
and teaches regularly in the US and UK, and this book describes all aspects
of a kabuki actor's life, from training to makeup to backstage etiquette.
If you enjoyed the kabuki performance at the Kabuki-za and want to see
more, you'll have another opportunity while we're in Tokyo at the National
Theater-Big Theater (Kokuritsu gekijo dai-gekijo) (near Nagata-cho
& Hanzomon stations). Every day from June 1-24 (except the 12th) a program
which includes a lecture "How to Watch Kabuki" and Yohanasake Ukinano
Yokokuji (I have no idea what this is in English, nor could I find out anything
about it!) will be performed. The programs are at 11 and 2:30, and tickets,
which are available at the box office or by calling the National Theater Ticket
Center at 03-3230-3000, are 1,500 yen or 3,800 yen.
No & Kyogen
According to Japan: An Illustrated Encyclopedia, Noh
is the oldest extant professional theater; a form of musical dance-drama originating
in the 14th century. Noh preserves its origin in ritual, reflecting an
essentially Buddhist view of existence. The performance looks and sounds more
like solemn observance than life. Kyogen
is a form of comic drama also originating in the 14th century and is traditionally
performed between two separate noh plays. Unlike noh, kyogen
is straightforward and colloquial, drawing on the real world for its material.
In the strictest sense, kyogen is a type of noh, and a traditional
noh performance consists of a noh play, followed by a kyogen
play and ending with another noh play.
Some of the characters in noh wear masks which are made by specially-trained
craftsmen. The noh stage is usually bare, and only a few props are ever
used. Noh is accompanied by a nohkan (transverse flute), otsuzumi
(large drum held at the waist), kotsuzumi (small drum held on the shoulder),
and taiko (floor drum). Noh dramas may also feature a chorus of
chanters who sit at the side of the stage. Noh drummers not only play
their instruments, but also insert "yo's" and "ho's" into
their playing. These audible cues help the instrumentalists stay together and
prompt entrances, and are learned as a part of the music along with the drum
patterns.
The noh stage is always the same, and it is true to its prototype, which
was outside, with a roof, pine trees in front of the entry corridor, and gravel
surrounding the front of the stage. There is always an entry corridor on the
left, and the pine trees in front of it are always in the same place. There
is always a pine tree painted on the back wall, and the stage dimensions are
always the same. This is to aid the actors who have limited vision when wearing
masks, and are guided by a sense of feel as much as sight.
Noh has enjoyed an upswing in the number of young devotees in recent
years, and there are numerous private noh theaters in Tokyo, Kyoto and
Osaka as well as other cities. Takigi noh, or outdoor torch-light noh
performances in the tradition of early noh, are often staged in the fall
and draw large crowds.
Noh, like kabuki, has traditionally been all male, but today a
very few women have been allowed to perform as noh actors and musicians
professionally. As in kabuki, women do study noh acting and music,
and perform as amateurs or may do scenes out of context as professional performers.
Bunraku
According to Japan: An Illustrated Encyclopedia, Bunraku
is the professional puppet theater which is an enduring form of art developed
by city-dwelling commoners of the Edo period. Historically, it was the fortuitous
joining of two independent art forms, puppetry and joruri (the dramatic
text and the art of chanting it), that gave birth to bunraku. Bunraku
is accompanied by one shamisen player and one reciter who sit to the
side of the stage but in plain view of the audience. The reciter does all of
the dialogue and commentary, so he must be skilled at interpreting all the different
roles and character styles in every play. The bunraku puppets themselves
are handled by up to three puppeteers, each handling a different part or parts
of the puppet's body. The chief handler wears formal kimono, while the other
two puppeteers wear black robes and hoods to render them "invisible."
The most famous bunraku playwright was Chikamatsu Monzaemon (1653-1725),
and many of his plays were also adapted for kabuki. Bunraku has
also traditionally been all male, but because of the serious decline in the
number of bunraku puppeteers and musicians, a few women have been allowed
to perform in professional productions.
National
Bunraku Theater (Kokuritsu bunraku gekijo) in Osaka (near Namba
and Nihonbashi stations): On June 19 (when we will be in Kyoto), the National
Bunraku Theater (it takes about an hour to get there from Kyoto) will offer
Gojobashi, an explanation on how to enjoy Bunraku, and Koinyobo Somewaketazuna
(English ear phone guide may not be available). The show times are 10:30 and
2:00, and tickets are 3,600 yen and can be purchased at the theater box office
or via phone (06-6212-2531).
Kabuki, noh and bunraku share many stories, particularly
famous historical events. However the versions in each type of theater can vary
significantly. Bunraku narration is done by one person accompanied by
one shamisen player, whereas in noh stylized archaic speech is
used and in kabuki the dialogue may be done by either the actors or the
musicians. Flashy dances and realistic scenery are likely to be added to kabuki
versions, while noh uses very little scenery or props and is confined
to a small stage.
Gion Corner
The performance at Gion Corner is meant to give you a little taste of several
traditional arts. Although the performers change, the program has been the same
every time I've been there, from the first time in 1987 to the most recent time
in 1999. You are welcome to take photos, and as far as I remember flash photos
are OK, however, artists always appreciate it if you can avoid taking flash
photos! Here is a little information on each of the arts which will be demonstrated.
Gagaku
The gagaku, or court music, ensemble was brought to Japan from China
over 1000 years ago. Gagaku groups today can be found at the Imperial
Palace in Tokyo, at large temples and shrines, and in some communities and universities.
In the US there are gagaku ensembles in LA and Hawaii. It is a very stately,
refined style of music and dance which is most commonly performed today on ritual
occasions or in concerts and demonstrations. The official story is that this
style of music has been handed down from father to son since it was introduced
into Japan from China, but in reality it was nearly a lost art until it was
revived with the Meiji Restoration in 1868, and many scholars believe that the
music which is performed today may not be anything like the original music introduced
from China. Bugaku is gagaku with dance. Some of the dance pieces
use masks, and by examining the masks scholars can trace the roots to some of
those works to India and Southeast Asia.
Koto
The koto is a 13-string zither brought to Japan from China around the
7th century. It developed its own repertoire in the mid-16th century, and the
koto is one of the most popular instruments (along with the shakuhachi
and shamisen) in Japan today. Although many people (even Japanese) think
that koto music is all old, slow and boring, in fact there are many composers
writing and arranging music in many styles, from jazz to traditional genres,
for the koto today. The most influential koto composer in modern
history was Miyagi Michio (1894-1956).
Kyogen
See the noh and kyogen section
above.
Chado (also called Chanoyu--Tea Ceremony)
The Japanese tea ceremony is less about the tea itself and more about the process
of making the tea. It is thought that tea and tea drinking were introduced into
Japan in 806 by the Buddhist priest Kukai after he spent two years studying
in China. Another Buddhist priest, Eisai (1141-1215) brought tea rituals to
Japan from China. Sen no Rikyu (1522-1591) is credited with creating the modern
tea ceremony. The tea ceremony is closely associated with Buddhist thoughts
of ma (silence, space) and transcendence. The tea ceremony is done in
many different ways today (casual, formal, seated in chairs, seated traditional
style), but the common features are the emphasis on form (kata), ma
and the attainment of a different level of awareness. Because the type of powdered
green tea used in the tea ceremony is very bitter, wagashi (Japanese
sweets) are usually served during the tea ceremony. In Kyoto you will find many
shops specializing in wagashi, and they make different types of wagashi
to correspond with the changing seasons. You might want to find a wagashi
shop and try one or two. The utensils, cups, sweets and room decorations are
all chosen to create a harmonious experience, and are chosen based on the time
of year and the style of the tea ceremony. An important concept in tea ceremony
is wabi and sabi. These concepts are difficult to explain, but
they include loneliness, simplicity, desolation, and poverty. They are expressed,
for example, in tea cups which are "imperfect" or rustic and sparse
decoration in the room. The idea is to free oneself from worldly concerns of
perfection and wealth so that through the act of making tea, one can transcend
this world.
Ikebana (Flower Arranging)
There are many styles of flower arranging, each with its own guiding principles
and rules, but in general ikebana is the controlled placement of flower,
plants and other materials in an arrangement which sets a mood. Ikebana
arrangements reflect the Japanese concepts of ma (space) and asymmetry.
Kyomai (literally Kyoto dance)
Kyomai is the dance style practiced in Kyoto. Although ordinary women
can and do perform kyomai, in Kyoto it is often associated with maiko
(apprentice geisha) and geiko (geisha). This elegant, refined dance style
takes years of training to master, and is related to other traditional dance
styles in Japan. A fan is often used symbolically to represent, for example,
a cup from which sake is drunk. The kimono worn by the dancers may be selected
specifically for the dance performed. Kyomai is normally accompanied
by the shamisen, usually with a style of music called jiuta, which
originated in the Kyoto-Osaka area.
Shamisen
The shamisen is one of the most widely-used traditional Japanese instruments,
and as with most Japanese instruments, it originated in China. It is used in
folk music (minyo), theatrical genres (kabuki and bunraku),
chamber music (with koto and shakuhachi), storytelling, and in
genres associated with geisha (kouta and others). The shamisen
is a 3-stringed lute which is plucked with a bachi (pick) which come
in different sizes and materials depending on the type of music being performed.
Bunraku
See the bunraku section above.
Shakuhachi
The shakuhachi is an end-blown bamboo flute which probably originated
in China, although a similar indigenous Japanese instrument exists. Outside
of Japan the shakuhachi is probably known for its use in Zen Buddhism,
but in fact that's only part of the story of shakuhachi music. Shakuhachi
literally refers to the length of the instrument, that is one shaku and
8 sun (a shaku is a Japanese unit of length-about a foot, and
a sun is 1/10 of a shaku, so the length is 1.8 shaku),
and today all instruments of this type, regardless of their length, are referred
to as "shakuhachi."
Resources
Recommended CDs
Interested in listening to some Japanese music before you leave? This is a list
of recommended CDs which may be available at Borders or other large record shops
(these were all listed as available at amazon.com). There are others, some of
them really bad (!), so if you want to play it safe, stick with these! I wrote
the liner notes for several of these, so I know that they are in English and
are of high quality!
Recommended books
Want to read more about these arts? The following are recommended books which
you might find useful.