1156:
33:
1453:
984:
638:
1869:
1699:
1958:
1039:
Plays danced by one person take up about 60% of the repertoire, and plays danced by more than two people make up the rest of the repertoire. About 60% of the plays consist of pure dance plays without drama (metamorphosis play, Edo period daily life play, festive play), compared to around 40% dramatic
2047:
genre, which already existed in the Edo period in the field of music, consists of pieces created to celebrate the founding of a new school, the inheritance of a name or the inauguration of an establishment etc. Also, around the beginning of the Meiji era, musicians broke away from the kabuki world,
1980:
Noh: In the Edo period, when belonging to the warrior class was distinguished from the kabuki which was an entertainment of the popular classes, the adaptation of Noh in the kabuki dance tended to move away from the original piece by completely changing the context, the characters, and the staging.
1590:
which describes a journey to a destination. This theme was very popular with the people of the Edo period, as it depicted the freedom of travelling in contrast to the constriction of movement under the shogunate. However, travellers would also be depicted facing melancholy, such as retribution for
1919:
Peddler: The variety of occupations among the citizens of Edo was surprising, including a peddler or a street performer, who animated the city of Edo. A peddler was not just a salesman, but was accompanied by various performances or songs, sometimes comical, to attract children, and in some cases
1651:
has been associated with themes of a double suicide: a couple consider killing each other at the end of their journey. There, character psychology is brought to the fore, and the description of the landscape becomes a background. Later, a new style entered into vogue: a peddler or a street artist
1724:, the same actor transforms into different characters with a rapid change of costume, and plays between three and twelve (usually seven) characters, one after another – male and female of all ages, from different periods and of all social strata, animals, apparition, and gods.
1172:
1024:. In addition, there are plays choreographed with the kabuki dance technique. The themes of the plays are plentiful: legends, classical literature, historical figures, crime stories, and life and customs in the Edo period. There are also adaptations of Noh,
1981:
However, in the Meiji era, when the kabuki tried to renew the popular image by introducing the Noh of a high dress, the adaptation of this medieval theater was made by approaching this noble taste, while keeping the content and style of the original piece:
641:
645:
644:
640:
639:
646:
244:. As a genre of dance that has multiple influences, borrows from many different dance traditions developed over a long period, overlaps with theatre and has many different schools, there is some difficulty in defining and categorizing
643:
381:
developed during the Edo period, and would be performed at private parties on a relatively small surface, such as the surface of one tatami mat. Its movements are slow and gentle. It can be accompanied by music
1496:, the central character of the child's mother commonly loses her mind to grief, and becomes a traveling artist who searches for her child, singing and dancing. In Noh, this theme is featured in the plays
2048:
and school leaders performed new pieces every New Year. These festive pieces, celebrating prosperity and auspiciousness, were given choreography, often in the style of Noh dance: this genre is called
1076:, the most sacred play mixing dance and prayer ritual for a bountiful harvest and prosperity, three characters, Okina, Senzai and Sanbasō, appear. The latter's dynamic dance gave rise to a series of
1484:
Inspired by the category of Noh plays about madness, this theme was developed in dance plays from the earliest period of kabuki. Apart from themes of madness in love, another common theme in
1448:. In these plays, the main character is a ghost with two spirits inside. The souls of two lovers who have killed each other come together in an vengeful half-male, half-female spirit.
781:
schools were founded by choreographers (who were originally kabuki musicians or actors), or by actors. These two backgrounds mean that both still share the same dance repertoire.
2308:
642:
763:
includes theatrical, dramatic and figurative body language (such as writing a letter, drinking sake, etc.), representing the actions of everyday life in the Edo period.
854:
repertoire series, adapted from Noh during the Meiji period, with inspiration taken from the approach of kabuki adapting Noh dramas. For these plays, Noh dance (
975:(a style of acting imitating the movements of puppets) is used: the character is supported by puppeteers standing behind him and moves as if he was a puppet.
465:(1912–1926), Western arts-inspired writer Tsubouchi Shōyō proposed changes to the performance of kabuki theater, resulting in a new style of dance known as
1407:
Two characters with totally identical appearances dance together, and one reveals his true, ghostly nature: this style, which originated in a Noh play
1155:
736:
is a static and abstract movement with an emphasis on the ritual aspect, which is often present in the adaptation sequences of the nô theater;
2445:
2416:
238:, a form of dance drama in kabuki plays, but the term has now grown to cover several Japanese dance styles, including the modern dance form
620:
3139:
2360:
2333:
2206:
3129:
2387:
1788:(six great poets), a play of one performer transforming into 5 poets, for which all 5 quick-changes are still extant and known of.
1199:
1181:
1162:
124:
means "Japanese dance", it is not meant to refer to
Japanese dance in general, and instead refers to a few dance genres such as
2287:
2222:
3049:
3022:
2999:
2976:
2949:
2926:
2094:
founded in 1849 by
Hanayagi Jusuke I, who was a disciple of Nishikawa Senzō IV. This is the school with the most disciples.
1490:
is madness due to the loss of a child: in the Edo period, a child could be taken away to be sold to circus troupes. In
1370:, with whom he had a love affair. In the smoke, the spirit of the courtesan appears and speaks resentfully. The play,
1744:
is broken down into several plays, one for each character, which are performed independently, like the famous play
1301:. It was around the Meiji period that the adaptation came closer to Noh: the majestic lion dance is performed by a
137:
1452:
1277:, in which the Buddhist monk sees mythical lions playing with peonies at Mount Seiryo in China, was adapted as an
1957:
1731:
3124:
937:
884:
was much adapted after the Meiji period, and this repertoire was appropriated by kabuki actors of this period.
929:
1750:, which was originally the first part of a series of five quick-changes: the girl changes into a blind person
837:
1088:
is the most ritualistic, and the rest of the repertoire develops the more entertaining aspects for kabuki:
3134:
1043:
Not all parts can be classified perfectly, but they can be roughly grouped into the following categories:
32:
1782:
and a boatman. Nowadays, many quick-change plays no longer exist in their entirety, with one exception:
2968:
2271:
154:
1735:
1425:
613:, whose first appearance dates back to around 1673, founded schools to teach this dance to amateurs.
1175:
36:
1011:
1800:
750:
822:
163:. Prior to this, dance was generally referred according to its particular dance genre, such as
3105:
3045:
3018:
2995:
2972:
2945:
2922:
2441:
2412:
2383:
2356:
2329:
2302:
2202:
983:
2377:
2350:
2323:
2196:
2250:
462:
3144:
1730:
was very popular at the start of the 19th century, particularly with the two great actors
1171:
745:
295:
280:
118:
dances, which often incorporated elements from the older dance genres. Although the term
2437:
2408:
300:
285:
704:, "male roles". Thus, a woman can play a male role, and a man can play a female role.
3118:
2161:
2230:
2080:
Japan has about two hundred nihon-buyō schools, including the "five great schools":
1196:
play, inspired by the myth of the Dōjōji temple, was adapted in the kabuki dance as
375:- dance born and developed in the region of Kyoto and Osaka (the Kamigata region).
150:
1970:
827:
2992:
NHK nihon no dentō geinō : Nō kyōgen nihon buyō kabuki bunraku kanshō nyūmon
1019:
2174:
111:
140:, in that it is a refined style intended as entertainment on a public stage.
2007:, etc. However, even before this period, there was already an adaptation of
1591:
wrongdoing or attachment to a person met along the journey they must leave.
1585:
699:
272:
2141:
era (1688–1704). At the origin of many schools, it is the oldest school of
2069:
Oimatsu, Hokushū, Shima no senzai, Ume no sakae, Matsu no midori, Tsurukame
1984:
Kanjinchō, Funabenkei, Momijigari, Hagoromo, Hashi-benkei, Mochizuki, Shōjō
1901:
and many pieces on this theme show the people's passion for this festival:
684:
is also performed by women. There are two different dance styles taught in
661:
490:, performed by artists wanting to experiment with a new form of expression.
461:
has known
European and American influences during the 20th century. In the
2124:
founded in 1893 by
Wakayagi Judō I, who was a disciple of Hanayagi Jusuke.
3041:
795:
plays which are inspired by Noh theater plays. The three major series of
393:
2138:
2108:
1283:(female role) dance in the early kabuki period, resulting in the plays
673:
3096:
667:
115:
1868:
1698:
17:
1645:(double suicide in Sonezaki) by Chikamatsu Monzaemon, the genre of
1388:(literally "castle-toppler", a moniker given to courtesans) Takao).
3087:
1956:
1923:
Dango-uri, Yoshiwara-suzume, Tamaya, Awamochi, Oharame, Katsuo-uri
1867:
1697:
1451:
1367:
1170:
1154:
982:
636:
385:
87:
31:
1652:
intervenes during the couple's journey, remonstrating with them:
2325:
Sensational
Knowledge: Embodying Culture Through Japanese Dance
757:, a dance invented by a Buddhist monk around the 10th century;
3078:
2160:
founded by Bandō Mitsugorō III, kabuki actor representing the
1582:
For a long time in
Japanese art there has been a style called
1204:, which then gave birth to the main series of the repertoire:
655:
3066:
1952:, Adaptation of Noh and Kyogen theaters after Meiji period)
2201:(2nd ed.). Rowman & Littlefield. pp. 55–57.
1738:, who competed to develop this genre. Today, the genre of
2965:
Nihon no kotengeinō buyō : kinsei no uta to odori
2471:
2469:
2142:
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2055:
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2014:
2008:
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since 1955, is performed by both a kabuki actor and a
614:
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2588:
2586:
2198:
Historical
Dictionary of Japanese Traditional Theatre
1895:): The pleasure of popular life was undoubtedly the
2561:
2559:
2349:Oshima, Mark (29 June 2009). Sandra Buckley (ed.).
157:is believed to have been the first to use the term
1904:Omatsuri, Sanja-matsuri, Kanda-matsuri, Kioi-jishi
742:is a dynamic and rhythmic movement resulting from
153:(1868–1911) as a term for "dance", and the writer
2835:
2795:
2793:
2628:
2487:
2352:The Encyclopedia of Contemporary Japanese Culture
2019:, etc., but it was transformed into kabuki style.
2001:was adapted in kabuki dance after the Meiji era:
872:Even before the Meiji period, there were already
2307:: CS1 maint: bot: original URL status unknown (
2249:Takashi Izuha; Keiichiro Uetsuki; Mieko Marumo.
98:developed from earlier dance traditions such as
2024:
1940:
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1775:
1763:
1753:
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54:
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582:
567:
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522:
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448:
431:
406:
368:
351:
320:
231:
204:
183:
175:. The term is a combination of the characters
63:
2382:. Wesleyan University Press. pp. 24–31.
2328:. Wesleyan University Press. pp. 27–28.
2258:Society of Dance History Scholars Proceedings
1913:Musume-nanakusa, Genroku-hanami-odori, Ryūsei
1346:center around stories of ghosts or phantoms.
1002:plays consists mainly of kabuki dance plays (
110:, and was further developed during the early
8:
2702:
2700:
920:, are acts in the kabuki plays adapted from
2054:, presented in general in the style called
878:-origin kabuki dance plays, but, like Noh,
473:
69:
2687:
2685:
2290:. Archived from the original on 2006-07-07
1932:Echigo-jishi, Kairaishi, Dontsuku, Kappore
1366:A newly-engaged man burns the letter of a
27:Classical Japanese performing art of dance
2811:
2799:
2772:
2757:
2721:
2706:
2640:
2616:
2592:
2577:
2550:
2526:
2514:
2502:
2475:
1416:, has become in vogue with many plays as
544:was referred to by various names such as
333:in the exact definition refers solely to
2994:] (in Japanese). Nihon Hōsō Kyōkai.
2944:] (in Japanese). Engeki shuppansha.
2137:founded by Nishikawa Senzō I during the
2107:founded by Fujima Kanbei Ist during the
678:theater, which feature male performers,
650:The dance "Shunkashuto" ("Four Seasons")
2823:
2784:
2745:
2691:
2676:
2664:
2652:
2565:
2538:
2244:
2242:
2240:
2187:
2016:Tsuri-gitsune, Utsubozaru, Sue-hirogari
860:) is integrated into the choreography.
538:dates to the Meiji period. Until then,
2895:
2883:
2871:
2859:
2847:
2733:
2604:
2460:
2300:
621:important intangible cultural property
2921:] (in Japanese). Bunken shuppan.
2498:
2496:
2273:Global perspectives on dance pedagogy
1008:) created in the Edo period, such as
413:, referring to the name of the room (
7:
2195:Samuel L. Leiter (1 October 2014).
2004:Migawari-zazen, Bōshibari, Chatsubo
149:is a modern term coined during the
114:(1603–1867), through the medium of
130:, which are performed in theatre.
25:
1863:, plays about Edo-period customs)
1456:Fukusuke Nakamura VI in the play
1436:(the last act of the kabuki play
819:- are adapted from the Noh plays
1082:repertoires in kabuki: the play
945:In addition, during climaxes of
136:differs from other varieties of
3017:] (in Japanese). Nansōsha.
211:, which can also be pronounced
190:, which can also be pronounced
2060:(dance with the kimono or the
1597:themes are found in the plays
1159:Depiction of the kabuki dance
1:
1961:Matsumoto Kōshirō VII in the
1920:with an extravagant costume:
1603:(Act VIII of the kabuki play
1260:, adaptation of the Noh play
1144:, adaptation of the Noh play
1059:, adaptation of the Noh play
2988:NHK 日本の伝統芸能 能 狂言 日本舞踊 歌舞伎 文楽
2959:Kenkyūkai, Geinōshi (1970).
1579:Description of the landscape
1430:. The most famous plays are
3032:Nishikata, Setsuko (1988).
3009:Nishikata, Setsuko (1980).
2143:
2068:
2062:
2056:
2050:
2043:
2025:
2015:
2009:
2003:
1997:
1991:
1983:
1969:
1963:
1941:
1931:
1922:
1912:
1903:
1897:
1891:
1880:
1874:
1852:
1843:
1837:
1831:
1825:
1819:
1813:
1807:
1799:
1793:
1784:
1776:
1764:
1754:
1746:
1740:
1726:
1720:
1710:
1704:
1682:
1672:
1666:
1660:
1658:(Act IV of the kabuki play
1654:
1647:
1641:
1629:
1627:(Act IV of the kabuki play
1623:
1617:
1615:(Act IV of the kabuki play
1611:
1605:
1599:
1593:
1584:
1562:
1552:
1546:
1540:
1534:
1526:
1520:
1510:
1504:
1498:
1492:
1486:
1468:
1458:
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1438:
1432:
1424:
1418:
1409:
1392:
1384:
1378:
1372:
1351:
1342:
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1309:
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1279:
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1247:
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1224:
1218:
1212:
1206:
1198:
1192:
1180:
1161:
1146:
1131:
1129:
1120:
1114:
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1048:
1032:
1026:
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1004:
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989:
971:
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947:
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928:
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865:
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844:
836:
821:
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738:
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576:
561:
546:
540:
534:
516:
501:
467:
457:
440:
423:
415:
400:
398:soloist. It is also called
392:
384:
377:
360:
343:
335:
329:
312:
294:
279:
271:
265:
246:
240:
225:
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132:
126:
120:
106:
100:
94:
55:
47:
41:
3161:
3140:Japanese words and phrases
3106:List of Kabuki dance plays
3097:List of Kabuki dance plays
3088:List of Kabuki dance plays
3072:The main organisation for
2986:Nihon Hōsō Kyōkai (1999).
2376:Hahn, Tomie (2007-05-07).
1770:, a servant of the samurai
1376:, gave variations such as
1307:(male actor) in the plays
987:Sengiku Bando in the play
138:Japanese traditional dance
2355:. Routledge. p. 75.
2322:Tomie Hahn (7 May 2007).
2154:
2131:
2118:
2101:
2088:
2032:
1948:
1859:
1689:
1569:
1475:
1399:
1358:
1331:
1256:
1140:
1055:
712:has three main elements:
633:Dance styles and elements
598:
583:
568:
553:
523:
508:
449:
432:
407:
369:
352:
321:
232:
205:
184:
90:performing art of dance.
64:
39:in September 1955 in the
3130:Performing arts in Japan
2913:Fujita, Hiroshi (1976).
2432:Shinmura, Izuru (2018).
2403:Izuru, Shinmura (2018).
1624:Michiyuki Koi no Odamaki
1618:Yoshitsune Senbon Zakura
938:Yoshitsune Senbon Zakura
419:) where it is practiced.
86:refers to the classical
2936:Hayashi, Yukio (2001).
1573:, lyrical travel plays)
1200:Kyōganoko Musume Dōjōji
1182:Kyōganoko Musume Dōjōji
1163:Kyōganoko Musume Dōjōji
1012:Kyōganoko Musume Dōjōji
2836:Nihon Hōsō Kyōkai 1999
2629:Nihon Hōsō Kyōkai 1999
2488:Nihon Hōsō Kyōkai 1999
1976:
1889:Traditional festival (
1885:
1715:
1479:, plays about madness)
1463:
1187:
1168:
1085:Kotobuki Shiki Sanbasō
994:
696:, "female roles", and
651:
607:The choreographers of
51:
3079:Nihon Buyo Foundation
3040:] (in Japanese).
2967:] (in Japanese).
2379:Sensational Knowledge
2288:"What is nihon buyo?"
2227:Nihon Buyo Foundation
2223:"What is Nihon Buyo?"
1960:
1871:
1701:
1693:, quick-change plays)
1661:Kanadehon Chūshingura
1630:Imoseyama Onna Teikin
1606:Kanadehon chūshingura
1532:Madness among women:
1455:
1174:
1158:
986:
930:Kanadehon Chūshingura
649:
499:In the narrow sense,
269:refers to the dances
35:
3110:Invitation to kabuki
3015:Nihon buyō no kenkyū
2276:. 2009. p. 228.
2251:"Shoyo's Nihon Buyo"
2066:, without costume):
1878:dancer in the piece
1736:Nakamura Utaemon III
1426:Chikamatsu Monzaemon
1178:in 1951 in the play
263:In the broad sense,
3038:Nihon-buyō no sekai
2164:period (1804–1830).
1760:, a celestial deity
1732:Bandō Mitsugorō III
1708:dancer in the play
1636:Double love suicide
1518:Madness among men:
1414:("The two Shizuka")
1176:Nakamura Utaemon VI
951:plays adapted from
495:Narrower definition
37:Nakamura Shikan VII
2942:Buyō meisaku jiten
2667:, pp. 160–161
2607:, pp. 126–127
1977:
1886:
1716:
1464:
1188:
1169:
1103:Shitadashi Sanbasō
995:
652:
390:), composed for a
52:
3092:Kabuki Play Guide
2969:Engeki shuppansha
2919:Nihon-buyō nyūmon
2447:978-4-00-710425-1
2418:978-4-00-710425-1
2233:on 25 April 2006.
2036:, festive pieces)
2013:, such as pieces
1419:Futago Sumidagawa
960:Yagura no Oshichi
848:, as well as the
647:
514:refers solely to
223:to be a term for
217:. Shōyō intended
16:(Redirected from
3152:
3055:
3028:
3005:
2982:
2955:
2932:
2899:
2893:
2887:
2881:
2875:
2874:, pp. 42–43
2869:
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2255:
2246:
2235:
2234:
2229:. Archived from
2219:
2213:
2212:
2192:
2159:
2157:
2156:
2146:
2136:
2134:
2133:
2123:
2121:
2120:
2111:era (1704–1711).
2106:
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2093:
2091:
2090:
2071:
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1796:
1791:The most famous
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1507:
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1495:
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1471:
1461:
1447:
1445:Futaomote Dōjōji
1441:
1435:
1429:
1421:
1415:
1412:
1404:
1402:
1401:
1395:
1387:
1381:
1375:
1373:Keisei Asamadake
1363:
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1354:
1345:
1336:
1335:, phantom plays)
1334:
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1318:
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1231:Futaomote Dōjōji
1227:
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1195:
1185:
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1123:
1117:
1111:
1109:Hinazuru Sanbasō
1105:
1099:
1093:
1091:Ayatsuri Sanbasō
1087:
1081:
1075:
1070:In the Noh play
1066:
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259:Wider definition
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50:
44:
21:
3160:
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3125:Dances of Japan
3115:
3114:
3083:nihonbuyo.or.jp
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2151:
2128:
2115:
2098:
2085:
2078:
2039:
2029:
1955:
1945:
1929:Street artist:
1910:Annual events:
1866:
1856:
1832:Mitsumen Komori
1772:
1771:
1761:
1751:
1696:
1686:
1642:Sonezaki Shinjū
1639:Since the play
1576:
1566:
1482:
1472:
1413:
1396:
1382:(confession of
1355:
1338:
1328:
1269:
1253:
1153:
1137:
1068:
1052:
981:
894:
870:
825:
789:There are many
787:
774:
769:
748:
637:
635:
619:, listed as an
595:
589:or more simply
580:
565:
550:
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446:
429:
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366:
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256:
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202:
181:
155:Tsubouchi Shōyō
81:
78:
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61:
28:
23:
22:
15:
12:
11:
5:
3158:
3156:
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3132:
3127:
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3112:
3103:
3094:
3085:
3076:
3062:
3061:External links
3059:
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3023:
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3000:
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2977:
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2950:
2933:
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2852:
2840:
2828:
2816:
2812:Nishikata 1988
2804:
2800:Nishikata 1988
2789:
2777:
2773:Nishikata 1988
2762:
2758:Nishikata 1988
2750:
2738:
2726:
2722:Nishikata 1988
2711:
2707:Nishikata 1988
2696:
2681:
2669:
2657:
2645:
2641:Nishikata 1980
2633:
2621:
2617:Nishikata 1988
2609:
2597:
2593:Nishikata 1988
2582:
2578:Nishikata 1980
2570:
2555:
2551:Kenkyūkai 1970
2543:
2541:, pp. 5–6
2531:
2527:Nishikata 1988
2519:
2515:Nishikata 1988
2507:
2503:Nishikata 1988
2492:
2480:
2476:Nishikata 1988
2465:
2453:
2446:
2438:Iwanami Shoten
2424:
2417:
2409:Iwanami Shoten
2395:
2388:
2368:
2362:978-0415481526
2361:
2341:
2335:978-0819568359
2334:
2314:
2279:
2263:
2236:
2214:
2208:978-1442239104
2207:
2186:
2185:
2183:
2180:
2179:
2178:
2170:
2169:Notable people
2167:
2166:
2165:
2148:
2125:
2114:Wakayanagi-ryu
2112:
2095:
2077:
2074:
2038:
2022:
2021:
2020:
1988:
1954:
1942:Matsubame mono
1938:
1937:
1936:
1927:
1917:
1908:
1865:
1849:
1695:
1679:
1678:
1677:
1637:
1634:
1580:
1575:
1563:Michiyuki mono
1559:
1558:
1557:
1530:
1481:
1465:
1450:
1449:
1410:Futari Shizuka
1405:
1393:Futaomote mono
1389:
1364:
1337:
1321:
1268:
1242:
1219:Kane no Misaki
1152:
1126:
1121:Kuruwa Sanbasō
1067:
1045:
980:
977:
893:
886:
869:
862:
851:matsubame mono
786:
783:
773:
770:
768:
765:
746:nenbutsu-odori
634:
631:
496:
493:
492:
491:
420:
340:
260:
257:
255:
252:
79:Japanese dance
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3157:
3146:
3143:
3141:
3138:
3136:
3135:Concert dance
3133:
3131:
3128:
3126:
3123:
3122:
3120:
3111:
3107:
3104:
3102:
3098:
3095:
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2873:
2868:
2865:
2861:
2856:
2853:
2849:
2844:
2841:
2837:
2832:
2829:
2826:, p. 166
2825:
2820:
2817:
2814:, p. 126
2813:
2808:
2805:
2802:, p. 124
2801:
2796:
2794:
2790:
2787:, p. 164
2786:
2781:
2778:
2775:, p. 122
2774:
2769:
2767:
2763:
2760:, p. 114
2759:
2754:
2751:
2748:, p. 163
2747:
2742:
2739:
2735:
2730:
2727:
2724:, p. 112
2723:
2718:
2716:
2712:
2709:, p. 108
2708:
2703:
2701:
2697:
2694:, p. 162
2693:
2688:
2686:
2682:
2679:, p. 161
2678:
2673:
2670:
2666:
2661:
2658:
2655:, p. 160
2654:
2649:
2646:
2642:
2637:
2634:
2630:
2625:
2622:
2619:, p. 170
2618:
2613:
2610:
2606:
2601:
2598:
2595:, p. 130
2594:
2589:
2587:
2583:
2579:
2574:
2571:
2568:, p. 165
2567:
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2556:
2552:
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2523:
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2508:
2504:
2499:
2497:
2493:
2489:
2484:
2481:
2478:, p. 146
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2389:9780819568359
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2127:Nishikawa-ryu
2126:
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1553:Shizuhata Obi
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1535:Onatsu Kyōran
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1459:Onatsu Kyōran
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1317:
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1293:
1292:Shūjaku Jishi
1287:
1281:
1275:
1271:The Noh play
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1115:Shiki Sanbasō
1110:
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1097:Ninin Sanbasō
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3101:Kabuki21.com
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2914:
2906:Bibliography
2898:, p. 47
2891:
2886:, p. 45
2879:
2867:
2862:, p. 38
2855:
2850:, p. 36
2843:
2838:, p. 60
2831:
2824:Hayashi 2001
2819:
2807:
2785:Hayashi 2001
2780:
2753:
2746:Hayashi 2001
2741:
2736:, p. 14
2729:
2692:Hayashi 2001
2677:Hayashi 2001
2672:
2665:Hayashi 2001
2660:
2653:Hayashi 2001
2648:
2643:, p. 38
2636:
2631:, p. 59
2624:
2612:
2600:
2580:, p. 79
2573:
2566:Hayashi 2001
2553:, p. 42
2546:
2539:Hayashi 2001
2534:
2529:, p. 80
2522:
2517:, p. 78
2510:
2505:, p. 76
2490:, p. 57
2483:
2463:, p. 34
2456:
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2427:
2404:
2398:
2378:
2371:
2351:
2344:
2324:
2317:
2292:. Retrieved
2282:
2272:
2266:
2257:
2231:the original
2226:
2217:
2197:
2190:
2084:Hanayagi-ryu
2079:
2051:goshūgi mono
2044:goshūgi mono
2040:
2026:Goshūgi mono
1995:: Like Noh,
1814:Asazuma Bune
1790:
1717:
1541:Kurama Jishi
1521:Ninin Wankyū
1483:
1340:A number of
1339:
1310:Kagami Jishi
1298:Makura Jishi
1270:
1248:Shakkyō mono
1237:Yakko Dōjōji
1225:Otsue Dōjōji
1213:Meoto Dōjōji
1207:Ninin Dōjōji
1189:
1079:sanbasō mono
1069:
1049:Sanbasō mono
1042:
1038:
996:
944:
895:
871:
816:shakkyō mono
804:sanbasō mono
788:
775:
706:
653:
606:
531:
498:
441:
424:
378:Kamigata-mai
361:
345:Kamigata-mai
344:
313:
281:kamigata-mai
262:
151:Meiji period
142:
92:
56:
53:
48:Kagami-Jishi
29:
3070:Association
2896:Fujita 1976
2884:Fujita 1976
2872:Fujita 1976
2860:Fujita 1976
2848:Fujita 1976
2734:Fujita 1976
2605:Fujita 1976
2461:Fujita 1976
2177:(born 1932)
1964:kabuki-buyō
1853:Fūzoku mono
1820:Ame no Gorō
1801:Sagi Musume
1747:Fuji-musume
1612:Yoshinoyama
1547:Sumida Gawa
1505:Sakura Gawa
1499:Sumida Gawa
1493:kyōran mono
1487:kyōran mono
1469:Kyōran mono
1379:Takao Zange
1132:Dōjōji mono
1020:Fuji Musume
990:Noriai bune
972:ningyō-buri
917:Yoshinoyama
826: [
810:dōjōji mono
749: [
616:Kabuki-buyō
541:kabuki-buyō
517:kabuki-buyō
442:sōsaku-buyō
401:zashiki-mai
336:kabuki-buyō
314:Kabuki buyō
299: [
284: [
273:kabuki-buyō
241:sosaku buyō
127:kabuki buyō
42:kabuki-buyō
3119:Categories
3074:nihon-buyō
3068:Nihon-buyō
3051:4062018985
3024:4062018985
3001:414910350X
2978:4900256137
2961:日本の古典芸能 舞踊
2951:4900256137
2928:414910350X
2294:2006-05-06
2182:References
2175:Masumi Uno
2144:nihon-buyō
2097:Fujima-ryu
1881:Katsuo-uri
1875:nihon-buyō
1838:Tomo Yakko
1826:Ukare Bōzu
1797:plays are
1794:henge mono
1741:henge mono
1727:Henge mono
1721:henge mono
1705:nihon-buyō
1683:Henge mono
1600:Hachidanme
1352:Asama mono
1343:nihon-buyō
1325:Onryō mono
1286:Aioi Jishi
999:Nihon-buyō
966:Hidakagawa
948:nihon-buyō
911:Hachidanme
899:nihon-buyō
798:nihon-buyō
792:nihon-buyō
778:Nihon-buyō
767:Influences
709:Nihon-buyō
687:nihon-buyō
681:nihon-buyō
626:nihon-buyō
535:nihon-buyō
502:nihon-buyō
458:nihon-buyō
330:nihon-buyō
266:nihon-buyō
254:Definition
247:nihon-buyō
220:nihon-buyō
160:nihon-buyō
133:Nihon-buyō
121:nihon-buyō
112:Edo period
95:Nihon-buyō
57:Nihon-buyō
2150:Bando-ryu
1971:Kanjinchō
1648:michiyuki
1594:Michiyuki
1586:michiyuki
1433:Futaomote
1368:courtesan
1304:tachiyaku
1036:theater.
1005:shosagoto
700:tachiyaku
610:shosagoto
547:shosagoto
532:The term
483:new dance
468:shin-buyō
425:Shin-buyō
362:jiuta-mai
296:shin-buyō
143:The term
3042:Kodansha
2303:cite web
2260:: 94–97.
2057:su odori
1808:Shiokumi
1785:Rokkasen
1316:Renjishi
1280:onnagata
1190:The Noh
693:onnagata
629:dancer.
577:furigoto
394:shamisen
88:Japanese
3034:日本舞踊の世界
3011:日本舞踊の研究
2139:Genroku
2076:Schools
1898:matsuri
1892:matsuri
1667:Umegawa
1655:Ochiudo
1511:Miidera
1439:Hōkaibō
1274:Shakkyo
1263:Shakkyō
1240:, etc.
1124:, etc.
1040:plays.
1033:bunraku
954:bunraku
923:bunraku
905:Ochiudo
890:Bunraku
845:Shakkyō
674:bunraku
654:Unlike
562:keigoto
477:
416:zashiki
73:
3145:Kabuki
3048:
3021:
2998:
2975:
2948:
2938:舞踊名作事典
2925:
2915:日本舞踊入門
2444:
2434:Kōjien
2415:
2405:Kōjien
2386:
2359:
2332:
2205:
2063:hakama
2010:kyōgen
1998:kyōgen
1992:Kyōgen
1987:, etc.
1935:, etc.
1926:, etc.
1916:, etc.
1907:, etc.
1844:Kamuro
1765:tenjin
1711:Kamuro
1527:Yasuna
1442:) and
1385:keisei
1193:Dōjōji
1147:Dōjōji
1030:, and
1027:kyōgen
902:plays
881:kyōgen
875:kyōgen
866:Kyōgen
838:Dōjōji
772:Kabuki
668:kabuki
662:kyōgen
196:, and
116:kabuki
3036:[
3013:[
2990:[
2963:[
2940:[
2917:[
2254:(PDF)
2162:Kasei
1967:play
1777:yakko
1673:Osome
1422:from
1073:Okina
1062:Okina
979:Plays
830:]
823:Okina
753:]
739:odori
721:odori
592:odori
524:歌舞伎舞踊
386:jiuta
339:alone
322:歌舞伎舞踊
303:]
288:]
199:odori
172:odori
107:odori
45:play
3046:ISBN
3019:ISBN
2996:ISBN
2973:ISBN
2946:ISBN
2923:ISBN
2442:ISBN
2413:ISBN
2384:ISBN
2357:ISBN
2330:ISBN
2309:link
2203:ISBN
2109:Hōei
2041:The
2033:御祝儀物
1949:松羽目物
1841:and
1755:zatō
1734:and
1508:and
1313:and
1295:and
1141:道成寺物
1056:三番叟物
1016:and
934:and
914:and
896:The
842:and
813:and
760:furi
727:furi
724:and
670:and
509:日本舞踊
474:lit.
450:創作舞踊
292:and
169:and
146:buyō
104:and
70:lit.
65:日本舞踊
18:Buyō
3108:on
3099:on
3090:on
3081:on
2155:坂東流
2132:西川流
2119:若柳流
2102:藤間流
2089:花柳流
1860:風俗物
1718:In
1690:変化物
1664:),
1621:),
1609:),
1570:道行物
1476:狂乱物
1400:双面物
1359:浅間物
1332:怨霊物
1257:石橋物
969:),
857:mai
785:Noh
733:Mai
715:mai
656:Noh
554:所作事
438:or
433:新舞踊
408:座敷舞
370:地唄舞
358:or
353:上方舞
233:振事劇
178:mai
166:mai
101:mai
3121::
3044:.
2971:.
2792:^
2765:^
2714:^
2699:^
2684:^
2585:^
2558:^
2495:^
2468:^
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2436:.
2411:.
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2305:}}
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367:(
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350:(
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319:(
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230:(
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206:踊
203:(
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185:舞
182:(
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62:(
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