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.

Though today kabuki theaters are typically filled with Western-style seating, traditionally, the area today called "orchestra seating" would have been composed of ''masu-gata'' seating - a grid of square areas separated by a thin wooden rail elevated a short distance above the floor. Audience members would gather in these squares, bringing food and drink, and sitting on the floor, enjoying a somewhat picnic-like atmosphere. Productions went on all day, typically including one ''jidaimono'', and one ''sewamono'', within which the audience could expect to see at least one ''[[shosagoto]]'' dance number. Audience members would come and go, eating, drinking, chatting, and even commenting out loud about the play (including shouting at the performers). It is easy to imagine how the practice of ''kakegoe'', shouting one's excitement or appreciation of the appearance of a favorite actor or favorite dramatic moment, would have developed in such a laid-back atmosphere.

Though today kabuki theaters are typically filled with Western-style seating, traditionally, the area today called "orchestra seating" would have been composed of ''masu-gata'' seating - a grid of square areas separated by a thin wooden rail elevated a short distance above the floor. Audience members would gather in these squares, bringing food and drink, and sitting on the floor, enjoying a somewhat picnic-like atmosphere. Expensive box seats to either side of the "house" (audience area), known as ''sajiki'', could go for as much as eighteen times the price of the ''kiriotoshi'' seats directly in front of the stage; viewers who didn't mind viewing the whole production from behind the stage, seeing chiefly just the backs of the actors, could have even cheaper seats in an area known as the ''rakan dai''.<ref>Timothy Clark, "Edo Kabuki in the 1780s," ''The Actor's Image'', Art Institute of Chicago (1994), 34.</ref> Productions went on all day, typically including one ''jidaimono'', and one ''sewamono'', within which the audience could expect to see at least one ''[[shosagoto]]'' dance number. Audience members would come and go, eating, drinking, chatting, and even commenting out loud about the play (including shouting at the performers). It is easy to imagine how the practice of ''kakegoe'', shouting one's excitement or appreciation of the appearance of a favorite actor or favorite dramatic moment, would have developed in such a laid-back atmosphere.

[[File:Kabukiza-curtains.jpg|right|thumb|320px|The distinctive black, green, and orange kabuki stage curtain, seen here at [[Kabuki-za]] in 2008.]]

[[File:Kabukiza-curtains.jpg|right|thumb|320px|The distinctive black, green, and orange kabuki stage curtain, seen here at [[Kabuki-za]] in 2008.]]

In addition to the shamisen, the ensemble also includes a variety of drums, including ''ôtsuzumi'', ''kotsuzumi'', ''[[shime-daiko]]'', and ''[[taiko|ô-daiko]]'', which not only play alongside the shamisen, but are also used for announcements, and for sound effects. Prior to a show beginning, traditionally, a large ''taiko'' (drum) placed in a drum tower (''yagura'') above the theater would be played, in a pattern known as ''ichiban-daiko'', to announce that a show was going to be taking place. Once the lead actor had entered the theater and begun his preparations (i.e. putting on makeup, getting dressed), the drum pattern would shift to ''niban daiko'', indicating to passersby and to the audience that the show would be starting soon. During the show, drums could be used in a variety of ways to create sound effects to help set the scene, such as waves (for a seaside or shipboard scene), wind, rain, or snow. To take one example, even though snow in reality falls silently, heavy drumbeats, hit at a very slow tempo, set the mood of the cold and dark night, and of the weight of the snow as it rests on tree branches and rooftops.

In addition to the shamisen, the ensemble also includes a variety of drums, including ''ôtsuzumi'', ''kotsuzumi'', ''[[shime-daiko]]'', and ''[[taiko|ô-daiko]]'', which not only play alongside the shamisen, but are also used for announcements, and for sound effects. Prior to a show beginning, traditionally, a large ''taiko'' (drum) placed in a drum tower (''yagura'') above the theater would be played, in a pattern known as ''ichiban-daiko'', to announce that a show was going to be taking place. Once the lead actor had entered the theater and begun his preparations (i.e. putting on makeup, getting dressed), the drum pattern would shift to ''niban daiko'', indicating to passersby and to the audience that the show would be starting soon. During the show, drums could be used in a variety of ways to create sound effects to help set the scene, such as waves (for a seaside or shipboard scene), wind, rain, or snow. To take one example, even though snow in reality falls silently, heavy drumbeats, hit at a very slow tempo, set the mood of the cold and dark night, and of the weight of the snow as it rests on tree branches and rooftops.

The ''hayashi'' is rounded out by flutes, bells, gongs, and other struck or rung instruments known as ''narimono''<ref>鳴り物, lit. "things that ring", often used interchangeably with the word ''hayashi'', to refer to the entire ensemble outside of the shamisen players.</ref>. These, too, accompany the shamisen and drums in performing songs during a play, but can also be used for sound effects. A variety of objects designed specifically for sound effects are employed in kabuki, including a set of clappers used specifically for the clip-clop of a horse, and a tiny reed instrument which, when blown in one manner produces surprisingly realistic bird tweets or chirps, and when used in a different manner, produces the sound of crickets or the buzz of summer cicadas. Stories call for a wide variety of sound effects, depending on the settings and events, and the ''hayashi'' is prepared to produce more or less any sound necessary, some more literal (such as a Buddhist temple bell, or summer cicadas), and some more stylized and distinctive to kabuki (such as the example of the sound of snow).

The ''hayashi'' is rounded out by flutes, bells, gongs, and other struck or rung instruments known as ''narimono''<ref>鳴り物, lit. "things that ring", often used interchangeably with the word ''hayashi'', to refer to the entire ensemble outside of the shamisen players.</ref>. These, too, accompany the shamisen and drums in performing songs during a play, but can also be used for sound effects. A variety of objects designed specifically for sound effects are employed in kabuki, including a set of clappers used specifically for the clip-clop of a horse, and a tiny reed instrument which, when blown in one manner produces surprisingly realistic bird tweets or chirps, and when used in a different manner, produces the sound of crickets or the buzz of summer cicadas. Fans with beads tied onto them were shaken to produce the sound of rain, while red beans poured back and forth in a long basket (like a rainstick) were used for the sound of waves on the ocean.<ref>Gallery labels, Kabukiza Gallery.[https://www.flickr.com/photos/toranosuke/50017571147/in/photostream/][https://www.flickr.com/photos/toranosuke/50017571282/in/photostream/]</ref> Stories call for a wide variety of sound effects, depending on the settings and events, and the ''hayashi'' is prepared to produce more or less any sound necessary, some more literal (such as a Buddhist temple bell, or summer cicadas), and some more stylized and distinctive to kabuki (such as the example of the sound of snow).

===Calendar and Events===

===Calendar and Events===

*[[Nihon buyo|Nihon buyô]] - lit. "Japanese dance"; the most prominent form of traditional Japanese dance today, based closely upon kabuki dance

*[[Nihon buyo|Nihon buyô]] - lit. "Japanese dance"; the most prominent form of traditional Japanese dance today, based closely upon kabuki dance

*[[Jishibai]] - regional amateur kabuki productions, performed in most cases only one day, or one week, annually, as part of annual local festivals

*[[Jishibai]] - regional amateur kabuki productions, performed in most cases only one day, or one week, annually, as part of annual local festivals

[[Category:Poetry and Theater]]

[[Category:Poetry and Theater]]

[[Category:Edo Period]]

[[Category:Edo Period]]