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  11. kabuki【歌舞伎】
Encyclopedia of Japan

kabuki
歌舞伎

One of the three major classical theaters of Japan, together with the and the bunraku puppet theater. Kabuki began in the early 17th century as a kind of variety show performed by troupes of itinerant entertainers. By the Genroku era (1688−1704), it had achieved its first flowering as a mature theater, and it continued, through much of the Edo period (1600−1868), to be the most popular form of stage entertainment. Kabuki reached its artistic pinnacle with the brilliant plays of Tsuruya Namboku IV (1755−1829; see Tsuruya Namboku) and Kawatake Mokuami (1816−93). Through a magnificent blend of playacting, dance, and music, kabuki today offers an extraordinary spectacle combining form, color, and sound and is recognized as one of the world's great theatrical traditions.

Origin of Kabuki

The creation of kabuki is ascribed to Okuni, a female attendant at the Izumo Shrine, who, documents record, led her company of mostly women in a light theatrical performance featuring dancing and comic sketches on the dry bed of the river Kamogawa in Kyōto in 1603. Her troupe gained nationwide recognition and her dramas−and later the genre itself−became identified as “kabuki,” a term connoting its “out-of-the-ordinary” and “shocking” character.

The strong attraction of onna (women's) kabuki, which Okuni had popularized, was largely due to its sensual dances and erotic scenes. Because fights frequently broke out among the spectators over these entertainers, who also practiced prostitution, in 1629 the Tokugawa shogunate (1603−1867) banned women from appearing in kabuki performances. Thereafter, wakashu (young men's) kabuki achieved a striking success, but, as in the case of onna kabuki, the authorities strongly disapproved of the shows, which continued to be the cause of public disturbances because the adolescent actors also sold their favors.

Kabuki after 1652

In 1652 wakashu kabuki was forbidden, and the shogunate required that kabuki performances undergo a basic reform to be allowed to continue. In short, kabuki was required to be based on kyōgen, farces staged between Nō plays that used the spoken language of the time but whose style of acting was highly formalized. The performers of yarō (men's) kabuki, who now began to replace the younger males, were compelled to shave off their forelocks, as was the custom at the time for men, to signify that they had come of age. They also had to make representations to the authorities that their performances did not rely on the provocative display of their bodies and that they were serious artists who would not engage in prostitution.

In the 1660s a broad platform, the forerunner of the hanamichi in use today, extending from the main stage to the center of the auditorium, was introduced to provide an auxiliary stage on which performers could make entrances and exits. In 1664 two theaters located in Ōsaka and Edo (now Tōkyō) introduced the draw curtain, which brought unlimited theatrical possibilities to the previously curtainless stage by permitting the lengthening of plays through the presentation of a series of scenes and providing the freedom to effect complicated scene changes unobtrusively. In the meantime the roles played by the onnagata (female impersonator) gradually increased in importance; mastery of them came to require many years of training. By the mid-17th century, the major cities, Kyōto, Ōsaka, and Edo, were permitted to build permanent kabuki playhouses.

During its formative years important elements from other theatrical forms−particularly kyōgen, Nō, and the puppet theater−were introduced. The strongest single influence came from kyōgen, which, by government fiat, had served as a model for reorganizing the basic structure of the kabuki theater. By introducing the dialogue, acting techniques, and realism of kyōgen, kabuki developed from a variety show featuring dance and music into a new form of drama. The kabuki stage was originally derived from the Nō stage, although later modified by the addition of the draw curtain and the hanamichi in the 17th century and the abandonment of the distinctive roof in the 18th century. Many Nō plays were also adapted for performance as kabuki. The simple texts borrowed from Nō, kyōgen, and early jōruri (narratives recited during bunraku puppet plays) were gradually supplanted by works written for the kabuki stage. The plots became longer and more involved, the number of roles increased, and their staging became more complicated. By 1673, Ichikawa Danjūrō I (1660−1704; see Ichikawa Danjūrō) had made his debut on the stage of the Nakamuraza in Edo. He created the aragoto (“rough-business”) plays, which featured courageous heros who displayed superhuman powers in overcoming evildoers. Danjūrō I's portrayal of these bold, masculine characters defined and established a taste for these plays among the townspeople of Edo.

Genroku Era Kabuki

By the beginning of the Genroku era in 1688 there had developed three distinct types of kabuki performance: jidai-mono (historical plays), often with elaborate sets and a large cast; sewa-mono (domestic plays), which generally portrayed the lives of the townspeople and which, in comparison to jidai-mono, were presented in a realistic manner; and shosagoto (dance pieces), consisting of dance performances and pantomime. In the Kyōto-Ōsaka (Kamigata) area, Sakata Tōjūrō I (1647−1709), whose realistic style of acting was called wagoto, was enormously popular for his portrayal of romantic young men, and his contemporary Yoshizawa Ayame I (1673−1729) consolidated the role of the onnagata and established its importance in the kabuki tradition. For a period of some 10 years until about 1703, when he returned to the puppet theater, Chikamatsu Monzaemon (1653−1724) wrote a number of kabuki plays, many of them for Tōjūrō I, which gained public recognition for the craft of the playwright. The commanding stage presence and powerful acting of Danjūrō I made him the premier kabuki performer in Edo, and as a playwright, under the name Mimasuya Hyōgo, he was once considered the rival of the great Chikamatsu.

Kabuki and the Puppet Theater

The spectacular success of kabuki in the Kyōto-Ōsaka area during the late 17th century was followed by a period of diminished popularity due to the flourishing of the bunraku puppet theater. In the years following the departure of Chikamatsu, maruhon-mono (kabuki adaptations of puppet plays) were staged in an attempt to draw back the spectators who were now flocking to the puppet theater. The musical and narrative accompaniment of the puppet plays was transported to kabuki performances, and even stage techniques of bunraku, such as the distinctive movement of the manipulated dolls, were imitated by kabuki actors. Chikamatsu's Kokusen'ya kassen (1715), an early example of the maruhon-mono, enjoyed tremendous success in both the Kamigata area and in Edo when it was performed soon after its presentation as a puppet play. The works of later writers which are considered masterpieces in both theaters include: Sugawara denju tenarai kagami (1746), Yoshitsune sembon-zakura (1747), and Kanadehon chūshingura (1748). In Edo, despite the growing popularity of the bunraku theater, kabuki remained in the ascendancy due to the undiminished power of the Ichikawa Danjūrō family of actors and the regional preference for the aragoto style of performance, which was not suited for the puppet stage. Nevertheless the tight logical structure of the puppet plays and their realistic character portrayal eventually influenced the Edo kabuki theater. After enjoying immense success during the first half of the 18th century, the puppet theater rapidly declined in the Kamigata area, and kabuki recaptured the support of the townspeople. Today, half of the plays presented on the kabuki stage are adaptations of bunraku plays.

After the mid-17th century, the cultural center of Japan gradually shifted from the Kamigata region to Edo. During this transitional period, one of the more notable Kamigata playwrights was Namiki Shōzō I (1730−73; see Namiki Shōzō), best known as the inventor of the revolving stage (mawaributai). It was a pupil of Shōzō I, the dramatist Namiki Gohei I (1747−1808; see Namiki Gohei), along with Sakurada Jisuke I (1734−1806; see Sakurada Jisuke), who was instrumental in transmitting the social realism traditionally associated with the sewa-mono (domestic plays) of the Kyōto-Ōsaka area to Edo. Their plays laid the foundation for the development of the realistic kizewa-mono (“bare” domestic plays) written by Tsuruya Namboku IV, Segawa Jokō III (1806−81; see Segawa Jokō), and Kawatake Mokuami.

Kabuki Music and Dance

During the 18th century, the rise of the Tokiwazu (see Tokiwazu-bushi) and Tomimoto schools of narrative and music and the Edo school of nagauta (songs accompanying dances, sung to the music of the shamisen) enriched kabuki performances. In the early 19th century, the Kiyomoto (see Kiyomoto-bushi) school flourished at the expense of the Tomimoto school, which rapidly declined. The first half of the 19th century was the golden age of kabuki music and was accompanied by the spectacular growth of the dance-oriented dramas, shosagoto.

Late-Edo- and Meiji-Period Kabuki

After the death of Namboku IV in 1829, kabuki did not produce any prominent playwrights until the mid-1850s, when Jokō III and Mokuami began to write for the theater. Their early successes, embellishments on the genre kizewa-mono −the masterpiece of which had been Tōkaidō Yotsuya kaidan (1825) by Namboku IV− intermingled brutality, eroticism, and macabre humor and introduced characters from the underworld. Mokuami created the shiranami-mono (thief plays), which had robbers, murderers, confidence men, and cunningly vicious women in the leading roles.

The Meiji Restoration of 1868 marked the collapse of the social order ruled by the samurai, whose loss of status was symbolized by a ban on the wearing of swords and by government discouragement of the continued wearing of topknots. During the early years of the Meiji period Mokuami developed the zangiri-mono (“cropped-hair” plays), which introduced soldiers dressed in Western-style uniforms and onnagata characters wearing Western dresses. These dramas were little more than caricatures of modern life and failed to draw audiences. Actors such as Ichikawa Danjūrō IX (1838−1903) and Onoe Kikugorō V (1844−1903; see Onoe Kikugorō) urged the preservation of classical kabuki, and in the later years of their careers agitated for the continued staging of the great plays of the kabuki tradition and trained a younger generation of actors in the art that they would inherit.

The immediate successors of Kikugorō V and Danjūrō IX, including Kikugorō VI (1885−1949), Matsumoto Kōshirō VII (1870−1949; see Matsumoto Kōshirō), and Nakamura Kichiemon I (1886−1954; see Nakamura Kichiemon), also worked to maintain the spirit and integrity of traditional kabuki. However, they also experimented with plays by writers who were not professionally affiliated with the kabuki theater and who wrote plays in the modern vernacular, freely incorporating elements that they had learned from the Western dramatic tradition, such as graphic realism and the detailed character study. Among writers associated with this shin kabuki (new kabuki) movement were Okamoto Kidō (1872−1939), Mayama Seika (1878−1948), Hasegawa Shin (1884−1963), and Kubota Mantarō (1889−1963).

Post−World War II Kabuki

In the postwar era the popularity of kabuki has been maintained and the great plays of the Edo period, as well as a number of the modern classics, continue to be performed in Tōkyō at the Kabukiza and the National Theater. However, offerings have become considerably shortened and, particularly at the Kabukiza, limited for the most part to favorite acts and scenes presented together with a dance piece. The National Theater continues to present full-length plays. The average length of a kabuki performance is about five hours, including intermissions. The roles once played by the great postwar actors Morita Kan'ya XIV (1907−75; see Morita Kan'ya), Ichikawa Danjūrō XI (1909−65), Nakamura Kanzaburō XVII (1910−88; see Nakamura Kanzaburō), Onoe Shōroku II (1913−89; see Onoe Shōroku), Onoe Baikō VII (1915−95; see Onoe Baikō), and Nakamura Utaemon VI (b 1917; see Nakamura Utaemon) are now performed by younger actors, such as Ichikawa Ennosuke II (b 1939; see Ichikawa Ennosuke), Matsumoto Kōshirō IX (b 1942), Nakamura Kichiemon II (b 1944), Bandō Tamasaburō V (b 1950), Kataoka Nizaemon XV (b 1944), and Nakamura Kankurō (b 1955). Dramas in which Tamasaburō V appears in the role of the onnagata and Nizaemon XV that of the leading man, or tachiyaku, are always well attended. Performances by kabuki actors in other theatrical genres and the broadcasting of kabuki on television have served to increase popular interest in the tradition. The adaptation for new-style theater (shingeki) and the avant-garde theater of kabuki plays by Tsuruya Namboku offers further evidence that the kabuki tradition continues to play a vital role in modern Japanese theater.

Kabuki and Tokugawa Thought

The kabuki theater often incorporates the prevailing moral notions of Tokugawa society as the mechanism upon which plots turn. For example, inga ōhō (law of retributive justice), a Buddhist notion, may result in the destruction of an evildoer or the bestowal of prosperity and happiness upon a long-suffering woman. The notion of mujō (the impermanence of all things), also derived from Buddhism, may be illustrated by the fall of a powerful military leader or the demise of a proud family. Certain ethical notions based on Confucian traditions, such as duty, obligation, and filial piety, may come into direct conflict with personal desires and passions, leading to a series of dramatic situations (see giri and ninjō).

The Kabuki Stage

The kabuki theater uses a draw curtain. It has broad black, green, and orange vertical stripes and is normally drawn open from stage right to stage left accompanied by the striking of wooden clappers. The curtain may also serve as a backdrop for brief scenes given before or after the performance on the main part of the stage. Kamite (stage left) is regarded as the place of honor and is occupied by characters of high rank, guests, and important messengers or official representatives. Shimote (stage right) is occupied by characters of low rank and members of a household; most entrances and exits take place on this side, usually by way of the hanamichi. A unique feature of the kabuki stage is the mawaributai, a circular platform that can be rotated to permit a second scene to be performed simultaneously with the scene already in progress or to dramatize a flashback.

Roles in Kabuki Plays

Yakugara, or types of dramatic role, are determined on the basis of the personality, age, or social position of characters. Onnagata are assigned to such roles as housewife, samurai lady, heroic woman, and wicked woman. Within the rich repertory of kabuki plays, the roles of Agemaki in Sukeroku yukari no Edo-zakura and Masaoka, the loyal nanny in Meiboku sendai hagi, are regarded as among the most challenging. Standard male roles are virtuous hero, handsome lover, evil courtier, wicked samurai, and unscrupulous rake. Versatile performers sometimes play both male and female roles.

Kabuki Dialogue

The dialogue in kabuki plays ranges from the extremely stylized to the intensely realistic. Generally jidai-mono contain more formalized speech and the sewa-mono more colloquial speech. In general, lines tend to be marked by a seven-five syllabic pattern (similar to that of classical Japanese poetry) and are delivered with a distinctive rhythm and tempo that is closely identified with kabuki. The tsurane, a long declamatory speech occurring in jidai-mono, effectively employs this rhythmic pattern. Maruhon-mono, kabuki adaptations from bunraku puppet plays, are in particular noted for their mellifluous lines in the seven-five pattern.

Acting Forms

The powerful influence of a long theatrical tradition is graphically illustrated by kata (forms), the stylized gestures and movements of kabuki performers. Since kata are not subject to rejection at the whim of the actor, they have helped to maintain the artistic integrity of kabuki. Tate (stylized fighting), roppō (dramatic exit accompanied by exaggerated gestures), mie (striking an attitude), and dammari (silent scene) all belong to this category. The performing of kata occurs more often in jidai-mono, which deal with members of the warrior class and in which larger-than-life action is always expected, but sewa-mono also contain instances of kata in the apparently casual movements of actors as they walk, speak, or sit.

Costumes

Costume, wig, and makeup are carefully matched with the nature of a role. In general, the costumes in jidai-mono are more stylized and elegant, befitting members of the nobility and the samurai class. By contrast, the prevailing fashions of society at large during the Edo period are portrayed quite realistically in sewa-mono plays. The costumes used in shosagoto dance pieces are especially noted for their color, design, and workmanship. Wigs are classified according to age of characters, historical period, social status, occupation, and other considerations. Makeup varies widely depending on the role. The most striking example is kumadori, an established set of masklike makeup styles numbering about 100 and used in jidai-mono.

Stage Assistants

In addition to the regular performers, the kōken (stage assistant) serves a valuable function on the stage. He is especially important in dance pieces. During the demanding hayagawari (quick costume change), the kōken must carefully follow the movements of the dancer, all the while remaining close behind him, and at the crucial moment assist in the hikinuki (“pulling out”), by which a layer of clothing is quickly removed revealing a costume of different pattern and color. The kōken is also known as kurogo (“black costume”) since he is often dressed all in black.

Acting Families

Each performer belongs to an acting family by whose name he is known. Professionally, he is part of a closely knit hierarchical organization, headed by one of the leading actors, and must spend many years as an apprentice. An actor may eventually receive a new name as a mark of his elevation to a higher position within the professional organization. It is awarded at a shūmei (name-assuming) ceremony, and in the company of his colleagues he then delivers from the stage an address (kōjō) in which he requests the continued patronage of the audience. The name Ichikawa Danjūrō, which can be traced back to the formative years of kabuki, is regarded even today as the most illustrious of honors a kabuki actor can receive. In 1985 Ichikawa Ebizō X (b 1951) became Danjūrō XII at a shūmei ceremony held at the Kabukiza, which was reported with considerable fanfare in the popular press. For synopses of individual kabuki plays see Aoto-zōshi hana no nishiki-e; Kagamijishi; Kanadehon chūshingura; Kanjinchō; Kenuki; Kokusen'ya kassen; Kuruwa bunshō; Kyō-ganoko musume Dōjōji; Meiboku sendai hagi; Narukami; Sanja Matsuri; Shibaraku; Soga no taimen; Sonezaki shinjū; Sugawara denju tenarai kagami; Sukeroku yukari no Edo-zakura; Tsumoru koi yuki no seki no to; Ya no ne; Yoshitsune sembon-zakura; Yo wa nasake ukina no yokogushi.

ジャパンナレッジは約1500冊以上(総額550万円)の膨大な辞書・事典などが使い放題のオンライン辞書・事典サービスです。
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kabuki【歌舞伎】と同じ英語カテゴリの記事
impasse(プログレッシブ ビジネス英語辞典)
行き詰まり(=deadlock),窮境;袋小路 The whole situation is at an impasse. 全事態が行き詰まっている We are in an impasse.われわれは袋小路に入っている
enemy(ランダムハウス英和大辞典)
1 敵,かたき,敵対者,競争相手 a mortal [or a sworn] enemy 不倶戴天(ふぐたいてん)の敵 a natural enemy 天敵 political enemies 政敵 a public enemy 民衆の敵(ギャングなどの凶悪犯罪人) an enemies list 敵のリスト
conclusion(ランダムハウス英和大辞典)
1 ((通例単数)) (物事の)終わり,終結,結び;終末,最後((of ...)) ⇒END1【類語】 foregone conclusion 当然の帰結 an effective conclusion of [or to] the war 戦争の効果的な終結 at the conclusion of the contest 競技の終わりに bring a story to a happy conclusion 話をハッピーエンドに導く.
appendix(ランダムハウス英和大辞典)
n. (pl. ap・pen・dix・es,-di・ces) 1 付録,補遺,付表,追加.▼ 通例,巻末につける解説,統計,参考記事などで,これがなくても本文は完結している. cf. SUPPLEMENT n.2. 2 付加物,付属物. 3 〔解剖〕(1)突起.(2)垂,(特に)虫垂.
adversary(ランダムハウス英和大辞典)
n. (pl. -sar・ies) 1 敵,敵対者,反対者(⇔ally).⇒OPPONENT【類語】 2 (試合・ゲームなどの)対戦者,相手(contestant). 3 ((the A-)) 悪魔,サタン. ━━ adj. (また((特に英)) ad・ver・sar・i・al)
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「kabuki【歌舞伎】」は英語に関連のある記事です。
その他の英語に関連する記事
kabuki【歌舞伎】(Encyclopedia of Japan)
One of the three major classical theaters of Japan, together with the Nō and the bunraku puppet theater. Kabuki began in the early 17th century as a kind of variety show performed by troupes of itinerant entertainers. By the Genroku era (1688−1704)
kimono【着物】(Encyclopedia of Japan)
The word kimono (literally, “clothing”) is usually used in the narrow sense for the traditional Japanese wrap-around garment, worn by both men and women, with rectangular sleeves, and bound with a sash (obi).
tea ceremony 【茶の湯】(Encyclopedia of Japan)
A highly structured method of preparing powdered green tea in the company of guests. The tea ceremony incorporates the preparation and service of food as well as the study and utilization of architecture, gardening, ceramics, calligraphy, history, and religion.
Nō【能】(Encyclopedia of Japan)
The oldest extant professional theater; a form of musical dance-drama originating in the 14th century. Nō preserves what all other important contemporary theater has lost: its origin in ritual, reflecting an essentially Buddhist view of existence.
adversary(ランダムハウス英和大辞典)
n. (pl. -sar・ies) 1 敵,敵対者,反対者(⇔ally).⇒OPPONENT【類語】 2 (試合・ゲームなどの)対戦者,相手(contestant). 3 ((the A-)) 悪魔,サタン. ━━ adj. (また((特に英)) ad・ver・sar・i・al)
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ジャパンナレッジは約1500冊以上(総額550万円)の膨大な辞書・事典などが使い放題のインターネット辞書・事典サイト。日本国内のみならず、海外の有名大学から図書館まで、多くの機関で利用されています。
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kabuki【歌舞伎】の関連キーワードで検索すると・・・
検索ヒット数 260
検索コンテンツ
1. ka・bu・ki音声
ランダムハウス英和
n.1 歌舞伎.2 ((K-)) 歌舞伎の上演(Grand Kabuki).[1899.<日本語]ka・bu・kie・squeadj. ...
2. ka・bu・ki
プログレッシブ英和
[名詞]歌舞伎.[日本] ...
3. Kabuki 【歌舞伎】
Encyclopedia of Japan
between January 1900 and January 1915 by the Kabuki Hakkojo. Miki Takeji (1867−1 ...
4. kabuki 【歌舞伎】
Encyclopedia of Japan
theatrical traditions. Origin of Kabuki The creation of kabuki is ascribed to O ...
5. kabuki jūhachiban 【歌舞伎十八番】
Encyclopedia of Japan
acting-family dynasty, the most illustrious in kabuki history. The plays are Fuw ...
6. kabuki music 【歌舞伎音楽】
Encyclopedia of Japan
in the popular kabuki theater from the 17th century to the present. The first ka ...
7. ka・bu・kie・sque
ランダムハウス英和
adj. ...
8. ザ・カブキ
デジタル大辞泉プラス
フランスの振付家モーリス・ベジャールによるバレエ(1986)。原題《The Kabuki》。初演は東京バレエ団。音楽は黛敏郎。歌舞伎の『仮名手本忠臣蔵』を題材と ...
9. aesthetics 【美学】
Encyclopedia of Japan
Many writings emerged, especially on joruri and kabuki, that had little to do wi ...
10. Aoto-zōshi hana no nishiki-e 【青砥稿花紅彩画】
Encyclopedia of Japan
Kabuki play; popular title Benten Kozo. A sewa-mono (domestic play) written by K ...
11. ap・pear・ance音声
ランダムハウス英和
October 1981.本誌は1981年10月より毎月発行される.(4)(物事が)初めて世に出ることKabuki made its first appeara ...
12. ap・pear・ance
プログレッシブ英和
of each symptom各症状の発現1b [C](歴史・記録などに)現れること,登場.Kabuki made its first appearance i ...
13. Arashi Kanjūrō 【嵐寛寿郎】画像
Encyclopedia of Japan
1903−1980 Actor. Born in Kyoto. Originally a kabuki actor, Arashi began acting i ...
14. Azuchi-Momoyama period 【安土桃山時代】
Encyclopedia of Japan
expiring, while new traditions, such as joruri and kabuki drama, were barely beg ...
15. Bandō Tamasaburō V 【坂東玉三郎5世】画像
Encyclopedia of Japan
1950− Kabuki actor. As the pupil of Morita Kan'ya XIV (1907−75; see Morita Kan'y ...
16. Benkei 【弁慶】
Encyclopedia of Japan
loyalty and courage are depicted in several No and kabuki plays.  ...
17. bunraku 【文楽】
Encyclopedia of Japan
tone of the tenor shamisen of the kabuki theater. In kabuki, an ensemble of 10  ...
18. Chikamatsu Hanji 【近松半二】
Encyclopedia of Japan
the rising popularity of the kabuki theater, trying to emulate kabuki by employi ...
19. Chikamatsu Monzaemon 【近松門左衛門】
Encyclopedia of Japan
30 kabuki plays. There has been much speculation about why he switched from joru ...
20. chōnin 【町人】画像
Encyclopedia of Japan
associated particularly with chonin, including the kabuki theater and the music  ...
21. clothing 【衣服】
Encyclopedia of Japan
supported new forms of artistic expression. The kabuki theater and the entertain ...
22. cosmetics 【化粧】
Encyclopedia of Japan
period (1600−1868) the vogue was usually set by kabuki actors, courtesans, and g ...
23. crests 【紋】
Encyclopedia of Japan
garments. Crests came into use by courtesans, kabuki actors, commoners, tradesme ...
24. dance, traditional 【舞踊】画像
Encyclopedia of Japan
Wakashu kabuki (young men's kabuki) came into prominence after onna kabuki (wome ...
25. drama, modern 【近現代の演劇】
Encyclopedia of Japan
major part of kabuki's repertory has similarly been premodern, but many new play ...
26. Edo literature 【江戸時代の文学】
Encyclopedia of Japan
category is the hyobanki, or critical appraisals of kabuki actors and prostitute ...
27. Edo period 【江戸時代】
Encyclopedia of Japan
(1688−1704). Such were the joruri (puppet) and kabuki plays of Chikamatsu Monzae ...
28. Ejima Incident 【絵島事件】
Encyclopedia of Japan
household, and Ikushima Shingoro (1671−1743), a kabuki actor. In 1714 Ejima was  ...
29. fashion design 【ファッションデザイン】
Encyclopedia of Japan
showing had a “Japanesque” theme that included kabuki music. His designs are in  ...
30. film, Japanese 【日本映画】
Encyclopedia of Japan
of the Japanese period film, gradually dropped kabuki elements from his costume  ...
31. folk performing arts 【民俗芸能】画像
Encyclopedia of Japan
courtly or city stage performing arts, such as No, kabuki, and the traditional p ...
32. folktales 【民話】
Encyclopedia of Japan
the 15th century, the No and kyogen, as well as kabuki, which originated in the  ...
33. Fujima Kanjūrō VI 【藤間勘十郎6世】
Encyclopedia of Japan
made a choreographer for the Kabukiza after designing dances for the kabuki acto ...
34. Fujiwara Opera 【藤原歌劇団】
Encyclopedia of Japan
mounted two operas per year at Tokyo's Kabuki Theater (Kabukiza). In 1952 the gr ...
35. Fujiyama Kambi 【藤山寛美】画像
Encyclopedia of Japan
shimpa troupe in Osaka. He later appeared in kabuki plays and performed with the ...
36. furyū 【風流】
Encyclopedia of Japan
Buddhist tradition. It has also been suggested that kabuki dances were initially ...
37. Genroku era 【元禄時代】
Encyclopedia of Japan
form of drama appropriate to the samurai class, kabuki and puppet theater, which ...
38. gesaku 【戯作】
Encyclopedia of Japan
In symbiosis with the performing arts (joruri, kabuki, rakugo, etc) and book ill ...
39. gidayū-bushi 【義太夫節】
Encyclopedia of Japan
had a profound influence on all later styles of kabuki music and on regional sty ...
40. globefishes 【河豚】画像
Encyclopedia of Japan
accidents. Still, fugu caused the death of a famous kabuki actor in 1975. Lanter ...
41. Gobō 【御坊[市]】
Encyclopedia of Japan
route to the temple Dojoji, celebrated in No and kabuki plays. Pop: 28,319.  ...
42. gōkan 【合巻】
Encyclopedia of Japan
from the kabuki theater. A great many gokan borrow their plots explicitly from p ...
43. gundan 【軍談】
Encyclopedia of Japan
They were adapted for the stage by writers for kabuki troupes and the joruri pup ...
44. gunki monogatari 【軍記物語】
Encyclopedia of Japan
legend, figuring prominently in numerous No, kabuki, and joruri dramas, as well  ...
45. hachimonjiya-bon 【八文字屋本】
Encyclopedia of Japan
merchants and feudal lords adapted from joruri and kabuki plays. These works mar ...
46. hagoita 【羽子板】画像
Encyclopedia of Japan
increasingly elaborate, the figures (often of popular kabuki actors) being made  ...
47. hanamichi 【花道】
Encyclopedia of Japan
The ramp in a kabuki theater that extends from stage right through the auditoriu ...
48. Harunobu 【春信】画像
Encyclopedia of Japan
Tokyo), where he was active, and most depict kabuki actors in character for part ...
49. hatamoto yakko 【旗本奴】
Encyclopedia of Japan
kinds of otokodate have been immortalized in kabuki and other popular theater.  ...
50. hayashi 【囃子】
Encyclopedia of Japan
plus two or three taiko and tsuzumi drums. In kabuki music the hayashi is provid ...
「kabuki【歌舞伎】」の情報だけではなく、「kabuki【歌舞伎】」に関するさまざまな情報も同時に調べることができるため、幅広い視点から知ることができます。
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