Changes

The kabuki calendar moved in tune with the seasons, with particular plays or categories of plays, as well as annual events, tied to particular times of year.

The kabuki calendar moved in tune with the seasons, with particular plays or categories of plays, as well as annual events, tied to particular times of year.

At the beginning of each year, each theater held ''kaomise'' ("face-showing") performances, which showed off the company (often with some new actors, i.e. new faces, beginning that year) to audiences. These programs included regular plays, but often began with beginning-of-the-year announcements by the theater manager or the head of the acting troupe (''[[zagashira]]''), introductions by or of the new actors, and auspicious dances such as ''[[Okina]]'' to open the new theater season. These were events held onstage for audiences, but they were also often preceded by private ceremonies held by the actors, called ''yorizome'', in which they met within the theater or the attached teahouse, and then also on the street outside, to formally greet the theater managers.<ref name=clark27>Timothy Clark, "Edo Kabuki in the 1780s," ''The Actor's Image'', Art Institute of Chicago (1994), 27, 36.</ref>

At the beginning of each year, each theater held ''kaomise'' ("face-showing") performances, which showed off the company (often with some new actors, i.e. new faces, beginning that year) to audiences. These programs included regular plays, but often began with beginning-of-the-year announcements by the theater manager or the head of the acting troupe (''[[zagashira]]''), introductions by or of the new actors, and auspicious dances such as ''[[Okina]]'' to open the new theater season. These were events held onstage for audiences, but they were also often preceded by private ceremonies held by the actors, called ''yorizome'', in which they met within the theater or the attached teahouse, and then also on the street outside, to formally greet the theater managers. The formal stage play program of a ''kaomise'' performance then followed, beginning with a period piece (''jidaimono''), followed by a domestic piece (''sewamono'') ostensibly continuing the story of the period piece.<ref name=clark27>Timothy Clark, "Edo Kabuki in the 1780s," ''The Actor's Image'', Art Institute of Chicago (1994), 27, 36-38.</ref>

These and other auspicious occasions often involve the entire troupe clapping their hands in a particular pattern, in unison. Such a hand-clapping ceremony was also held, for example, during the closing ceremonies of the post-war [[Kabuki-za]], before it was closed in 2010 (to be rebuilt and reopened in 2013).

These and other auspicious occasions often involve the entire troupe clapping their hands in a particular pattern, in unison. Such a hand-clapping ceremony was also held, for example, during the closing ceremonies of the post-war [[Kabuki-za]], before it was closed in 2010 (to be rebuilt and reopened in 2013).