Changes

The word "kabuki" (歌舞伎) is today written with three [[kanji|characters]] meaning song (歌), dance (舞), and technique or skill (伎). However, the name of the art form is said to derive from, or be related to, the term ''[[kabukimono]]'' (傾奇者), which referred to eccentric types seen on the streets of Kyoto and Edo around that time, who dressed and behaved unusually, and in general were described as leaning (傾) towards the bizarre and unconventional (奇). Many could likely be validly characterized as ruffians or street toughs; many were likely also involved in gambling or other unsavory or even violent activities. Okuni herself is said to have been a ''kabukimono'', along with [[Nagoya Sansaburo|Nagoya Sansaburô]], a figure often said to have been Okuni's onstage partner and off-stage lover, and worthy of credit as co-founder of kabuki theater, but who might in reality have never met Okuni, or might not even have existed at all. The riverbeds were very much lower-class areas, filled with people and activities the authorities considered undesirables. At least in the earliest days of kabuki, if not once formal theater buildings were erected, violence often erupted among the crowds, as one audience member accidentally brushed up against another's scabbard, or stepped on someone's foot. These violent clashes contributed to [[Tokugawa Ieyasu|Tokugawa Ieyasu's]] decision to ban kabuki from his castle-town of [[Sunpu]] as early as [[1608]] (this also indicates that kabuki had spread fairly quickly, as far as Sunpu in only five years). Still, even in these early years, kabuki was already popular not only among commoners, but among samurai and courtiers as well, to such an extent that it is said to have had some impact on court ladies' fashions or behavior.

The word "kabuki" (歌舞伎) is today written with three [[kanji|characters]] meaning song (歌), dance (舞), and technique or skill (伎). However, the name of the art form is said to derive from, or be related to, the term ''[[kabukimono]]'' (傾奇者), which referred to eccentric types seen on the streets of Kyoto and Edo around that time, who dressed and behaved unusually, and in general were described as leaning (傾) towards the bizarre and unconventional (奇). Many could likely be validly characterized as ruffians or street toughs; many were likely also involved in gambling or other unsavory or even violent activities. Okuni herself is said to have been a ''kabukimono'', along with [[Nagoya Sansaburo|Nagoya Sansaburô]], a figure often said to have been Okuni's onstage partner and off-stage lover, and worthy of credit as co-founder of kabuki theater, but who might in reality have never met Okuni, or might not even have existed at all. The riverbeds were very much lower-class areas, filled with people and activities the authorities considered undesirables. At least in the earliest days of kabuki, if not once formal theater buildings were erected, violence often erupted among the crowds, as one audience member accidentally brushed up against another's scabbard, or stepped on someone's foot. These violent clashes contributed to [[Tokugawa Ieyasu|Tokugawa Ieyasu's]] decision to ban kabuki from his castle-town of [[Sunpu]] as early as [[1608]] (this also indicates that kabuki had spread fairly quickly, as far as Sunpu in only five years). Still, even in these early years, kabuki was already popular not only among commoners, but among samurai and courtiers as well, to such an extent that it is said to have had some impact on court ladies' fashions or behavior.

The so-called ''onna kabuki'' ("women kabuki") performances also served as advertising for the young men and women themselves, as [[courtesans|prostitutes]]. In the earliest years of kabuki in Edo, many of the troupes and performances were directed by women, specifically courtesans of the [[Yoshiwara]].<ref>Ikegami, 264.</ref> Skits often had brothels as the settings, and involved lewd dialogue and movements; very often, the young men and women of the troupe each played the opposite gender, enhancing the humor of the performances. As a result of their association with prostitution, in [[1629]], the [[Tokugawa shogunate]] banned women from appearing onstage. This came after an incident the previous year in which a performance by a kabuki dancer named Azuma was believed to have caused a fight, leading to all female kabuki performers, dancers, and ''[[joruri|jôruri]]'' chanters being banned. The 1629 edict is the standard date cited as marking the ban on women's kabuki, though in fact the fact that the ban was reissued several times over the course of the 1630s-40s suggests that women continued to appear onstage, in violation of the ban, until at least 1647. Professional kabuki<ref>''[[Jishibai]]'' rural/regional amateur performances, as well as those performed by universities and other amateur contexts, often feature both men and women on-stage; in addition, there are a limited number of women-only troupes officially endorsed by the [[Ichikawa family]] or other segments of the professional kabuki establishment.</ref> remains a male-only theater form today.

The so-called ''onna kabuki'' ("women kabuki") performances also served as advertising for the young men and women themselves, as [[courtesans|prostitutes]]. In the earliest years of kabuki in Edo, many of the troupes and performances were directed by women, specifically courtesans of the [[Yoshiwara]].<ref>[[Eiko Ikegami]], ''Bonds of Civility'', Cambridge University Press (2005), 264.</ref> Skits often had brothels as the settings, and involved lewd dialogue and movements; very often, the young men and women of the troupe each played the opposite gender, enhancing the humor of the performances. As a result of their association with prostitution, in [[1629]], the [[Tokugawa shogunate]] banned women from appearing onstage. This came after an incident the previous year in which a performance by a kabuki dancer named Azuma was believed to have caused a fight, leading to all female kabuki performers, dancers, and ''[[joruri|jôruri]]'' chanters being banned. The 1629 edict is the standard date cited as marking the ban on women's kabuki, though in fact the fact that the ban was reissued several times over the course of the 1630s-40s suggests that women continued to appear onstage, in violation of the ban, until at least 1647. Professional kabuki<ref>''[[Jishibai]]'' rural/regional amateur performances, as well as those performed by universities and other amateur contexts, often feature both men and women on-stage; in addition, there are a limited number of women-only troupes officially endorsed by the [[Ichikawa family]] or other segments of the professional kabuki establishment.</ref> remains a male-only theater form today.

''Onna kabuki'' was thus replaced by so-called ''wakashû kabuki'' ("young men kabuki"), which had been active since at least 1612, and in which beautiful young men played all the roles. This marked the beginnings of the tradition of the ''[[onnagata]]'', though ''wakashû kabuki'' contained even less narrative content than ''onna kabuki'', consisting more fully of dance pieces. ''[[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. ''Kouta'' remained the dominant style of music, ''nagauta'' having not yet replaced it.

''Onna kabuki'' was thus replaced by so-called ''wakashû kabuki'' ("young men kabuki"), which had been active since at least 1612, and in which beautiful young men played all the roles. This marked the beginnings of the tradition of the ''[[onnagata]]'', though ''wakashû kabuki'' contained even less narrative content than ''onna kabuki'', consisting more fully of dance pieces. ''[[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. ''Kouta'' remained the dominant style of music, ''nagauta'' having not yet replaced it.