Changes

Numerous features of kabuki can thus trace their origins to the Genroku period, as can some of the most famous and prominent plays in the repertoire, such as ''[[Shibaraku]]''. By this time, narrative had taken a more central role in kabuki, and plays began to be more fully based around a consistent plot, and dramatic characters, though dance remained strong as well. Kabuki dance by this time had shifted away from the abstract and formal ''mai'' dance form of Noh, and away from the folk ''odori'' traditions,<ref>''Mai'' dances can be quite slow, and center on walking in a circle or square, and performing highly formalized, abstract movements; ''odori'' are considerably more energetic dances, generally performed in groups, either in a circle, or in a line. Tokita. p244.</ref> and had embraced the ''furi'' style of more mimetic dance, in which dancers embody a character, and perform dance motions which resemble or represent the actions of a narrative. Even as plays began to incorporate more dialogue and plot elements, the narrative dance-drama form known as ''[[shosagoto]]'' coalesced and gathered strength as well.

Numerous features of kabuki can thus trace their origins to the Genroku period, as can some of the most famous and prominent plays in the repertoire, such as ''[[Shibaraku]]''. By this time, narrative had taken a more central role in kabuki, and plays began to be more fully based around a consistent plot, and dramatic characters, though dance remained strong as well. Kabuki dance by this time had shifted away from the abstract and formal ''mai'' dance form of Noh, and away from the folk ''odori'' traditions,<ref>''Mai'' dances can be quite slow, and center on walking in a circle or square, and performing highly formalized, abstract movements; ''odori'' are considerably more energetic dances, generally performed in groups, either in a circle, or in a line. Tokita. p244.</ref> and had embraced the ''furi'' style of more mimetic dance, in which dancers embody a character, and perform dance motions which resemble or represent the actions of a narrative. Even as plays began to incorporate more dialogue and plot elements, the narrative dance-drama form known as ''[[shosagoto]]'' coalesced and gathered strength as well.

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

Licensed theatre system, censorship,  

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 theaters 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.

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 theaters 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.

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.

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