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The kabuki stage incorporates numerous distinctive special features, some more visible than others. Stage right and left in Anglophone parlance are referred to, respectively, as ''shimote'' ("lower hand") and ''kamite'' ("upper hand"); the ''geza'' or ''kuromisu'', a latticed compartment behind which the musicians are located, sits on stage right (''shimote'').  

The kabuki stage incorporates numerous distinctive special features, some more visible than others. Stage right and left in Anglophone parlance are referred to, respectively, as ''shimote'' ("lower hand") and ''kamite'' ("upper hand"); the ''geza'' or ''kuromisu'', a latticed compartment behind which the musicians are located, sits on stage right (''shimote'').  

The ''hanamichi'' (lit. "flower path"), a long, narrow walkway and one of the most visible stage features, extends from the stage (just left of stage right) through the audience, all the way to the back of the house. This path is used for dramatic entrances and exits, as well as for other dramatic elements, such as monologues. When a character stops on the ''hanamichi'', to strike a dramatic pose or present a monologue, it is almost always 30% of the way down the ''hanamichi'' from the stage (70% of the way from the back of the theater), at a spot called ''shichi-san'' (lit. "seven-three"). A great many of the most famous and dramatic moments in kabuki occur at ''shichi-san''. In addition, a trap door, called a ''suppon'' (lit. "snapping turtle") and small lift is installed at ''shichi-san'', allowing characters to make an entrance or exit directly to or from ''shichi-san'', rising up from below the stage (or descending down below from the house). A number of other similar trap doors and lifts are built into the main portion of the stage, allowing not only for entrances and exits, but also for characters and set pieces to be raised or lowered, creating a multi-tier stage set.

The ''hanamichi'' (lit. "flower path"), a long, narrow walkway and one of the most visible stage features, extends from the stage (just left of stage right) through the audience, all the way to the back of the house. This path is used for dramatic entrances and exits, as well as for other dramatic elements, such as monologues. When a character stops on the ''hanamichi'', to strike a dramatic pose or present a monologue, it is almost always 30% of the way down the ''hanamichi'' from the stage (70% of the way from the back of the theater), at a spot called ''shichi-san'' (lit. "seven-three"). A great many of the most famous and dramatic moments in kabuki occur at ''shichi-san''. In addition, a trap door, called a ''suppon'' (lit. "snapping turtle") and small lift is installed at ''shichi-san'', allowing characters to make an entrance or exit directly to or from ''shichi-san'', rising up from below the stage (or descending down below from the house). A number of other similar trap doors (''seri'') and lifts are built into the main portion of the stage, allowing not only for entrances and exits, but also for characters and set pieces to be raised or lowered, creating a multi-tier stage set.

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.

The music in kabuki is performed live, by [[shamisen]] players and an ensemble known as the ''[[hayashi]]''. There are typically an equal number of shamisen players and singers. The onstage portion of the ''hayashi'', known as the ''debayashi'', has the same composition as the Noh ''hayashi''; it consists of four or more performers of flute, ''ko-tsuzumi'', ''ô-tsuzumi'', and ''shimedaiko''. The flutist, however, plays not only the ''[[nokan|nôkan]]'' (Noh flute), but also the ''shinobue'' and possibly other wind instruments as necessary.

The music in kabuki is performed live, by [[shamisen]] players and an ensemble known as the ''[[hayashi]]''. There are typically an equal number of shamisen players and singers. The onstage portion of the ''hayashi'', known as the ''debayashi'', has the same composition as the Noh ''hayashi''; it consists of four or more performers of flute, ''ko-tsuzumi'', ''ô-tsuzumi'', and ''shimedaiko''. The flutist, however, plays not only the ''[[nokan|nôkan]]'' (Noh flute), but also the ''shinobue'' and possibly other wind instruments as necessary.

In ''matsubamemono'' (plays adapted from Noh and ''[[kyogen|kyôgen]]'')<ref>松羽目物, named after the prominent painting of a pine tree that dominates the back of the stage in Noh, ''kyôgen'', and this category of kabuki plays.</ref>, the musicians are often positioned in clear view, seated on an upstage platform that extends across the stage. Normally, however, the shamisen players, along with the ''debayashi'' performers, are located in a compartment at stage right, behind a screen, called a ''geza'' or ''kuromisu'', while the remainder of the ''hayashi'', including those performing sound effects such as bird and insect sounds, perform off-stage.

The shamisen players, along with the ''debayashi'' performers, are typically located in a compartment at stage right, behind a screen, called a ''geza'' or ''kuromisu'', while the remainder of the ''hayashi'', including those performing sound effects such as bird and insect sounds, perform off-stage.

Though not strictly considered musical instruments, a pair of clappers, called alternatively ''ki'' or ''tsuke'', located to the right of the stage, play an important role in emphasizing dramatic poses (''mie''), sword strikes, and other moments, as well as marking the beginning and ending of acts, beating out a dramatic rhythm as the curtain opens or closes.

Though not strictly considered musical instruments, a pair of clappers, called alternatively ''ki'' or ''tsuke'', located to the right of the stage, play an important role in emphasizing dramatic poses (''mie''), sword strikes, and other moments, as well as marking the beginning and ending of acts, beating out a dramatic rhythm as the curtain opens or closes.

*''[[Sewamono]]'', most often called "contemporary plays," by contrast, were set in the Edo period and focused more closely on commoner characters. These plays tend to be more reserved in their aesthetics, with more dialogue and less fighting scenes or special effects, though the content of the narrative is often more deeply, emotionally, dramatic. Some of the most famous ''sewamono'' are ''[[Sonezaki Shinju|Sonezaki Shinjû]]'' ("Love Suicides at Sonezaki") and ''[[Kuruwa Bunsho]]''.

*''[[Sewamono]]'', most often called "contemporary plays," by contrast, were set in the Edo period and focused more closely on commoner characters. These plays tend to be more reserved in their aesthetics, with more dialogue and less fighting scenes or special effects, though the content of the narrative is often more deeply, emotionally, dramatic. Some of the most famous ''sewamono'' are ''[[Sonezaki Shinju|Sonezaki Shinjû]]'' ("Love Suicides at Sonezaki") and ''[[Kuruwa Bunsho]]''.

There are some plays which do not cleanly fall into either of these categories, including dance pieces such as the lion dance piece ''[[Renjishi]]'' and ''[[Kakuju senzai]]'', an auspicious New Year's dance piece. The extensive repertoire can also be sub-divided into numerous sub-categories.

There are some plays which do not cleanly fall into either of these categories, while many others belong to one or more of the many named [[sub-categories of kabuki plays]].

==History==

==History==