Kabuki

Kabuki (歌舞伎, kabuki?) is a classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers. The individual kanji characters, from left to right, mean sing (歌), dance (舞), and skill (伎). Kabuki is therefore sometimes translated as "the art of singing and dancing". These are, however, ateji characters which do not reflect actual etymology. The kanji of 'skill' generally refers to a performer in kabuki theatre. Since the word kabuki is believed to derive from the verb kabuku, meaning "to lean" or "to be out of the ordinary", kabuki can be interpreted as "avant-garde" or "bizarre" theatre.[1] The expression kabukimono (歌舞伎者) referred originally to those who were bizarrely dressed and swaggered on a street.

Stage design

Shibai Ukie ("A Scene from A Play") by Masanobu Okumura (1686–1764), depicting Edo Ichimura-za theater in the early 1740s

The kabuki stage features a projection called a hanamichi (花道; literally, flower path), a walkway which extends into the audience and via which dramatic entrances and exits are made. Okuni also performed on a hanamichi stage with her entourage. The stage is used not only as a walkway or path to get to and from the main stage, but important scenes are also played on the stage. Kabuki stages and theaters have steadily become more technologically sophisticated, and innovations including revolving stages and trap doors, were introduced during the 18th century. A driving force has been the desire to manifest one frequent theme of kabuki theater, that of the sudden, dramatic revelation or transformation.^[19] A number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations. The term keren (外連), often translated playing to the gallery, is sometimes used as a catch-all for these tricks. Hanamichi and several innovations including revolving stage, seri and chunori have all contributed to kabuki play. Hanamichi creates depth and both seri and chunori provide a vertical dimension.

Mawari-butai (revolving stage) developed in the Kyōhō era (1716–1735). The trick was originally accomplished by the on-stage pushing of a round, wheeled platform. Later a circular platform was embedded in the stage with wheels beneath it facilitating movement. The kuraten (“darkened revolve”) technique involves lowering the stage lights during this transition. More commonly the lights are left on for akaten (“lighted revolve”), sometimes simultaneously performing the transitioning scenes for dramatic effect. This stage was first built in Japan in the early eighteenth century.

Seri refers to the stage "traps" that have been commonly employed in kabuki since the middle of the 18th century. These traps raise and lower actors or sets to the stage. Seridashi or seriage refers to trap(s) moving upward and serisage or serioroshi to traps descending. This technique is often used to lift an entire scene at once.

Chūnori: Kunitarō Sawamura II as Kitsune Tadanobu (left) flying over the stage, in the August 1825 production of Yoshitsune Senbon Zakura

Chūnori (riding in mid-air) is a technique, which appeared toward the middle of the 19th century, by which an actor’s costume is attached to wires and he is made to “fly” over the stage and/or certain parts of the auditorium. This is similar to the wire trick in the stage musical Peter Pan, in which Peter launches himself into the air. It is still one of the most popular keren (visual tricks) in kabuki today; major kabuki theaters, such as the National Theatre, Kabuki-za and Minami-za, are all equipped with chūnori installations.^[20]

Scenery changes are sometimes made mid-scene, while the actors remain on stage and the curtain stays open. This is sometimes accomplished by using a Hiki Dōgu, or small wagon stage. This technique originated at the beginning of the 18th century, where scenery or actors move on or off stage on a wheeled platform. Also common are stagehands rushing onto the stage adding and removing props, backdrops and other scenery; these kuroko (黒子) are always dressed entirely in black and are traditionally considered invisible. Stagehands also assist in a variety of quick costume changes known as hayagawari (quick change technique). When a character's true nature is suddenly revealed, the devices of hikinuki and bukkaeri are often used. This involves layering one costume over another and having a stagehand pull the outer one off in front of the audience.