Kabuki Theater of Japan
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This paper will be concerned with the Kabuki theater of Japan. It will discuss the virtuosity and techniques of the Kabuki actor, as well as the use of body language as it pertains to Japanese concepts of space. The origins of the Kabuki in Japan can be traced to the city of Kyoto in the early 17th century, A.D. Although the Kabuki is performed exclusively by men today, it was originally founded by a woman named Izumo no Okuni. Okuni led a group of women, most of whom were prostitutes, in the performance of narrative dances for the public. In this way, dance was used not just for its own sake but for the purpose of telling a story to the audience. Specifically, the gestures and body language of the dancers were used to tell the story while at the same time expressing the emotions of the characters. This was an important innovation in the development of both dance and drama in Japan. Nevertheless, the erotic nature of these dances, combined with the fact that they were performed by women (who are traditionally subservient in Japanese society), led the government officials of the time to institute a ban against them in the year 1629. This ban further stipulated that women were forbidden to perform on the Japanese stage altogether (Gunji 19). Women performers were never restored to the Japanese theater, even in later years. In modern times, as a result, both male and female roles in the Kabuki theater are performed strictly by male actors.
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traditionally changed at significant points in their careers, almost like hierarchical ranks, and certain names are reserved for actors as they attain increasing levels of excellence and acclaim (Grilli 34). It is interesting to note that the names in Kabuki acting families are not necessarily passed on from father to son. In this regard, a famous actor's name and ability may be passed on "either to a direct blood descendant, to an adopted child, or, in some cases, to a chosen pupil (Gunji 49).
An example of the way in which a Kabuki family name is passed on from one generation to the next can be seen in the acclaimed modern actor Ennosuke III. The name "Ennosuke" was first used in the late 19th century by the great grandfather of Ennosuke III. In the early 20th century, the son of the first Ennosuke attained a level of virtuosity which permitted him to assume the title of Ennosuke II. From this, it can be seen that Ennosuke II was the grandfather, rather than the father, of Ennosuke III. The reason for this gap is that "the present Ennosuke's father, although a distinguished actor, was sickly throughout his career and was never able to attain a level of distinction that merited the Ennosuke name (Grilli 34). Nevertheles
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Approximate Word count = 2589
Approximate Pages = 10 (250 words per page)
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