this latest form of the Kabuki, all of the actors were adult men. The government of the time was not able to arrive at a good rationale for banning this form of entertainment, and therefore it has been able to survive to the present day.
Following the establishment of the all-male Kabuki, the actors began developing the specific techniques which still distinguish it today. One of the most notable features of Kabuki acting is the fact that it requires a great deal of both physical strength and virtuosity. In this regard, it has been noted that the Kabuki's "long and physically draining performances involve chases, dancing, and acrobatics" (Arnott 206). Other distinctive features of the Kabuki theater include the use of elaborate makeup, wigs, and costumes. These elements provide a standardized means for expressing a particular character type or a particular emotion. From the mid-17th century on, the male actors performing in the Kabuki have generally specialized in playing either male roles or female roles. Those who play male roles are called tachiyaku, and those who play female roles are called oyama (Gunji 48). The early actors on the Kabuki stage also developed two basic styles of acting known as wagoto ("soft style") and aragoto ("rough style"). These two styles correspond more or less to the division of the actors into female and male roles. Thus, the "soft" or wagoto style has been described as "foppish and slightly effeminate" (39). The aragoto style, on the other hand, is more expressive and outgoing. This expressiveness includes the exaggerated use of facial makeup. The stark, colorful lines painted on the aragoto actor's face are "said to have been influenced by the expressions on the faces of Buddhist statues as well as by the masks used in Noh drama" (39). This is an interesting example, because it shows one way in which the Kabuki theater has reflected the traditional values of the Japanese society as a w...