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Origins:
Kabuki as an art has changed a lot over history, but it started with one woman named Izumo No Okuni, who danced in Kama river bed on the side of the road, with parodies of many normal Japanese tendencies. Izumo is the only reason this art form exists, and many actors and actresses in Japan have her to thank for their entire careers. The number of Kabuki playhouses multiplied very quickly. Despite some aristocratic interest, Kabuki remained essentially an entertainment of the common people. Those who devoted themselves to its interests were men without honorable employment and women from the prostitute quarters (Lombard, 287-295). Kabuki was founded in 1603 by Okuni, a Shinto priestess in Kyoto, and was performed initially by ensemble of women. As seen at the right, the Chinese characters used to write the word "kabuki" mean "song," "dance," and "craft," but the word "kabuki" is derived from the Japanese verb "kabuki," which means "to tilt" or "to set off kilter." The storylines of kabuki were considered quite racy, with wild dancing and stories set in bathhouses and red-light districts, differing from the staid movements and more classical storylines of its predecessor, Noh, a theatrical style that used distinctive masks. Kabuki grew in popularity found audiences at all levels of Japanese society (Unesco). Like all other classical actors, Kabuki actors began as outcasts with no civil rights. By law, they wore distinguishing garments, avoided socializing with other classes, and marry those only in the actors families. The government also made them live near the theatre. Despised by authorities, adored by the public, they enjoyed a status similar to modern day rock musicians. Like modern day rock star fans, kabuki actor fans were very invested in the actor’s character on stage, but their personal lives (Kabuki Japan-Guide). Kabuki actors began training at the age of 5, and reached their prime at 40 years of age. Their craft was characterized by certain styles or patterns of acting known as kata. A kata known as a mie was a static pose; a series of mie cummliatley defined a character’s time and space. The effect of mie was sculptural: it resembled figures in Buddhist sculpture whose essential quality was buddhist tension. Other kata included the swaggering walk, the stylized combat, impressive entrances and exits, with costumes, sound effects, and makeup (Unesco). |
Kabuki Masks