Changes

Another key feature of the kabuki stage is the ''mawari-butai'', or rotating stage. A large circular section within the rectangular stage is able to rotate, allowing scene changes to be done quickly and dramatically, with one rotating out of view, and another, formerly upstage, set rotating into view. Though the revolving stage, lifts & trap doors, and other physical effects are today operated electronically, they would have traditionally been operated by a team of stagehands beneath the stage equipped with ropes and pulleys; in the case of the ''mawari butai'', a group of stagehands would simply push on spokes attached to the ''mawari butai'' above them, slowly turning it.

Another key feature of the kabuki stage is the ''mawari-butai'', or rotating stage. A large circular section within the rectangular stage is able to rotate, allowing scene changes to be done quickly and dramatically, with one rotating out of view, and another, formerly upstage, set rotating into view. Though the revolving stage, lifts & trap doors, and other physical effects are today operated electronically, they would have traditionally been operated by a team of stagehands beneath the stage equipped with ropes and pulleys; in the case of the ''mawari butai'', a group of stagehands would simply push on spokes attached to the ''mawari butai'' above them, slowly turning it.

Stage layout (hanamichi; origins of the distinctive style of curtain), Costumes, makeup, dance, mie, special effects

Stage layout (hanamichi; origins of the distinctive style of curtain), Costumes, makeup, dance, mie, special effects

''Onna kabuki'' was thus replaced by so-called ''wakashû kabuki'' ("young men kabuki"), in which beautiful young men played all the roles. This marked the beginnings of the tradition of the ''[[onnagata]]''. ''[[Koto]]'' was sometimes incorporated into the musical ensembles in ''wakashû kabuki'', the only string instrument used in Japanese theater prior to the introduction of the shamisen. The young men in ''wakashû kabuki'' performed as prostitutes, however, like their female predecessors, and before long ''wakashû kabuki'' came to an end as well, due to the same shogunate concerns about public propriety and morality. ''Wakashû kabuki'' was followed by ''yarô kabuki'' in [[1652]], when laws were changed again, now allowing only older men to perform onstage. This eliminated the element of prostitution from kabuki, and marks the beginning of kabuki's shift towards becoming a more purely theatrical form. Younger actors would eventually be permitted back onto the stage, however.

''Onna kabuki'' was thus replaced by so-called ''wakashû kabuki'' ("young men kabuki"), in which beautiful young men played all the roles. This marked the beginnings of the tradition of the ''[[onnagata]]''. ''[[Koto]]'' was sometimes incorporated into the musical ensembles in ''wakashû kabuki'', the only string instrument used in Japanese theater prior to the introduction of the shamisen. The young men in ''wakashû kabuki'' performed as prostitutes, however, like their female predecessors, and before long ''wakashû kabuki'' came to an end as well, due to the same shogunate concerns about public propriety and morality. ''Wakashû kabuki'' was followed by ''yarô kabuki'' in [[1652]], when laws were changed again, now allowing only older men to perform onstage. This eliminated the element of prostitution from kabuki, and marks the beginning of kabuki's shift towards becoming a more purely theatrical form. Younger actors would eventually be permitted back onto the stage, however.

Licensed theatre system, censorship

Licensed theatre system, censorship

Meiji, post-war, today, rebuilding of Kabuki-za

Kabuki began to shift at the beginning of the 20th century from all-day programs to shorter separate afternoon and evening programs showing choice selections from a number of different plays. This remains the standard program today at [[Kabuki-za]] and the other major kabuki theatres across the country, though revivals of full-length plays are occasionally performed; the [[Tokyo National Theatre]], established in 1965, by contrast, makes a policy of hosting performances of full-length plays, as part of a philosophy of cultural preservation and historical authenticity.

Though strongly dedicated to tradition, kabuki today does not adhere exclusively to a traditional repertoire. Most plays composed in the late 19th and early 20th century and incorporating too much Western/modern influence, especially those with very modern settings and plots, and most especially those born out of the militarist & ultranationalist ideologies of the 1920s-40s, have been excised from the repertoire. However, new plays do continue to be written and performed, albeit rarely, and always with much effort paid to be true to the traditional aesthetics and style of kabuki. ''[[Ukare shinju|Ukare shinjû]]'', a parody of the [[shinju|love suicides]] genre, for example, was pioneered by Nakamura Kanzaburô XVIII (then Kankurô V) in 1997,<ref>''Kabukiza hyaku-ni-jû-nen shigatsu dai-kabuki'' 歌舞伎座百二十年四月大歌舞伎. Tokyo: Shôchiku. April 2008. p75.</ref> but even an avid kabuki fan might have difficulty noticing elements that would set it apart as definitively non-traditional, or of a more modern authorship. It has been added into the repertoire, and has been performed several times since its debut, but even in 2008, more than ten years after the play was added to the repertoire, it was preceded by Kanzaburô himself appearing before the audience and humbly asking their forgiveness for not performing something more traditional, and asking their consideration of this new piece.

While still strongly dedicated to tradition as it always has been, kabuki today does not adhere exclusively to a traditional repertoire. Most plays composed in the late 19th and early 20th century and incorporating too much Western/modern influence, especially those with very modern settings and plots, and most especially those born out of the militarist & ultranationalist ideologies of the 1920s-40s, have been excised from the repertoire. However, new plays do continue to be written and performed, albeit rarely, and always with much effort paid to be true to the traditional aesthetics and style of kabuki. ''[[Ukare shinju|Ukare shinjû]]'', a parody of the [[shinju|love suicides]] genre, for example, was pioneered by Nakamura Kanzaburô XVIII (then Kankurô V) in 1997,<ref>''Kabukiza hyaku-ni-jû-nen shigatsu dai-kabuki'' 歌舞伎座百二十年四月大歌舞伎. Tokyo: Shôchiku. April 2008. p75.</ref> but even an avid kabuki fan might have difficulty noticing elements that would set it apart as definitively non-traditional, or of a more modern authorship. It has been added into the repertoire, and has been performed several times since its debut, but even in 2008, more than ten years after the play was added to the repertoire, it was preceded by Kanzaburô himself appearing before the audience and humbly asking their forgiveness for not performing something more traditional, and asking their consideration of this new piece.

The tradition of making contemporary references and jokes, and otherwise slightly altering plays in each incarnation (production) of them, also continues to this day. Actors regularly incorporate references to contemporary gags or jokes into traditional plays, and have been known to go as far as to substitute men in NYPD uniforms for the shogun's lawmen in a traditional ''jidaimono'' play; this is seen not as a break with tradition, but as a continuation of the long tradition of keeping plays flexible and current, of improvisation and having fun with the canon, and preventing it from becoming too staid and formulaic.

The tradition of making contemporary references and jokes, and otherwise slightly altering plays in each incarnation (production) of them, also continues to this day. Actors regularly incorporate references to contemporary gags or jokes into traditional plays, and have been known to go as far as to substitute men in NYPD uniforms for the shogun's lawmen in a traditional ''jidaimono'' play; this is seen not as a break with tradition, but as a continuation of the long tradition of keeping plays flexible and current, of improvisation and having fun with the canon, and preventing it from becoming too staid and formulaic.

*McQueen Tokita, Alison. "Music in kabuki: more than meets the eye." ''The Ashgate Research Companion to Japanese Music''. Surrey: Ashgate Publishing, 2008. pp229-260.

*McQueen Tokita, Alison. "Music in kabuki: more than meets the eye." ''The Ashgate Research Companion to Japanese Music''. Surrey: Ashgate Publishing, 2008. pp229-260.

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[[Category:Poetry and Theater]]

[[Category:Poetry and Theater]]

[[Category:Edo Period]]

[[Category:Edo Period]]