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Satoko Shimazaki revisits three centuries of kabuki theater, reframing it as a key player in the formation of an early modern urban identity in Edo Japan and exploring the process that resulted in its re-creation in Tokyo as a national theatrical tradition. Challenging the prevailing understanding of early modern kabuki as a subversive entertainment and a threat to shogunal authority, Shimazaki argues that kabuki instilled a sense of shared history in the inhabitants of Edo (present-day Tokyo) by invoking "worlds," or sekai, derived from earlier military tales, and overlaying them onto the present. She then analyzes the profound changes that took place in Edo kabuki toward the end of the early modern period, which witnessed the rise of a new type of character: the vengeful female ghost. Shimazaki's bold reinterpretation of the history of kabuki centers on the popular ghost play Tokaido Yotsuya kaidan (The Eastern Seaboard Highway Ghost Stories at Yotsuya, 1825) by Tsuruya Nanboku IV. Drawing not only on kabuki scripts but also on a wide range of other sources, from theatrical ephemera and popular fiction to medical and religious texts, she sheds light on the development of the ubiquitous trope of the vengeful female ghost and its illumination of new themes at a time when the samurai world was losing its relevance. She explores in detail the process by which nineteenth-century playwrights began dismantling the Edo tradition of "presenting the past" by abandoning their long-standing reliance on the sekai. She then reveals how, in the 1920s, a new generation of kabuki playwrights, critics, and scholars reinvented the form again, "textualizing" kabuki so that it could be pressed into service as a guarantor of national identity.
Kabuki is well known for its exaggerated acting, flamboyant costumes and makeup, and unnatural storylines. The onnagata, usually male actors who perform the roles of women, have been an important aspect of kabuki since its beginnings in the 17th century. In a “labyrinth” of gendering, the practice of men playing women’s roles has affected the manifestations of femininity in Japanese society. In this case study of how gender has been defined and redefined through the centuries, Maki Isaka examines how the onnagata’s theatrical gender “impersonation” has shaped the concept and mechanisms of femininity and gender construction in Japan. The implications of the study go well beyond disciplinary and geographic cloisters.
Studies the production and psychology of this Japanese drama form and compares its techniques with those of the Western theater
The first book of its kind: a collection of the most important genres of Japanese performance--noh, kyogen, kabuki, and puppet theater--in one comprehensive, authoritative volume.
Unique in any Western language, this is an invaluable resource for the study of one of the world's great theatrical forms. It includes essays by established experts on Kabuki as well as younger scholars now entering the field, and provides a comprehensive survey of the history of Kabuki; how it is written, produced, staged, and performed; and its place in world theater. Compiled by the editor of the influential Asian Theater Journal, the book covers four essential areas - history, performance, theaters, and plays - and includes a translation of one Kabuki play as an illustration of Kabuki techniques.
This book is a feminist reading of gender performance and construction of the female role players, onnogata, of the Kabuki theatre. It is not limited to a 'theatre arts' focus, rather it is a mapping and close analysis of transformative genders through several historical periods in Japan (the seventeenth through the twentieth centuries).
"Heroes of the kabuki stage" is written for kabuki lovers and collectors of kabuki woodblock prints, eager to know more about the interesting images on their prints. This lavishly illustrated book has no precedent in a Western language outside Japan. The introduction to this form of theatrical art is placed in the historical and social context of Tokugawa and Meiji Japan between 1603 and 1912. Many of the conventions in the theatre are explained and practically all aspects of kabuki are investigated. The evolution of the playhouse itself, the fascinating interaction between actors and audiences, as well as the development of plays are discussed. There is no other theatre tradition with such elaborate costumes, make-up and variety of acting styles, and these aspects are explained in detail. A brief historical outline of actor prints and their designers, from both Edo (present-day Tokyo) and Osaka, is also included. A large section of the book is dedicated to retelling the 36 popular kabuki plays that are still performed today. Many theatre pieces have their origin in the Nô and puppet theatre traditions: all sources are mentioned in the short introduction to each retelling, which also include{s} detailed notes and references as well as gossip and anecdotes from the world of the theatre. The main scenes of each play and the actors in their leading roles are illustrated by woodblock prints, produced over a period of more than a century. The bibliography provides an up-to-date list of books and articles in Western languages about kabuki. Heroes of the kabuki stage is unique for its extensive index on roles, actors, playwrights, subjects and attributes, which will enable the reader and print collector to find his way in the spectacular world of kabuki.