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695:. Emperor Meiji was restored to power and moved from Kyoto to the new capital of Edo, or Tokyo, beginning the Meiji period. Kabuki once again returned to the pleasure quarters of Edo, and throughout the Meiji period became increasingly more radical, as modern styles of kabuki plays and performances emerged. Playwrights experimented with the introduction of new
1477:, or history plays, are set within the context of major events in Japanese history. Strict censorship laws during the Edo period prohibited the representation of contemporary events and particularly prohibited criticising the shogunate or casting it in a bad light, although enforcement varied greatly over the years. Many shows were set in the context of the
745:, the occupying forces briefly banned kabuki, which had formed a strong base of support for Japan's war efforts since 1931. This ban was in conjunction with broader restrictions on media and art forms that the American military occupation instituted after WWII. However, by 1947 the ban on kabuki was rescinded, but censorship rules lingered.
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certain roles or acting styles, and the new possessor of each name must live up to these expectations; there is the feeling almost of the actor not only taking a name, but embodying the spirit, style, or skill of each actor to previously hold that name. Many actors will go through at least three names over the course of their career.
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actor—either scenes he was famed for, or that featured him, would be inserted into a program without regard to plot continuity. Certain plays were also performed uncommonly as they required an actor to be proficient in a number of instruments, which would be played live onstage, a skill that few actors possessed.
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class, and the opening of Japan to the West, helped to spark kabuki's re-emergence. Both actors and playwrights strove to improve the reputation of kabuki in the face of new foreign influence and amongst the upper classes, partially through adapting traditional styles to modern tastes. This endeavour
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In the earliest forms of kabuki, female performers played both men and women in comic playlets about ordinary life. It did not take long for the style to become popular, and Okuni was asked to perform before the
Imperial Court. In the wake of such success, rival troupes quickly formed, and kabuki was
2238:
Since its beginning, kabuki has remained a significant piece of
Japanese culture. The stories and actors have been recreated in many different art forms, including woodblock prints, books, magazines, oral storytelling, photography in later years, and others. Additionally, kabuki was and continues to
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play may sacrifice the details of sets, puppets, or action in favor of the chanter, while kabuki is known to sacrifice drama and even the plot to highlight an actor's talents. It was not uncommon in kabuki to insert or remove individual scenes from a day's schedule in order to cater to an individual
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Every kabuki actor has a stage name, which is different from the name they were born with. These stage names, most often those of the actor's father, grandfather, or teacher, are passed down between generations of actors' lineages, and hold great honor and importance. Many names are associated with
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that the shogunate instituted starting in 1842 to restrict the overindulgence of pleasures. Actors, stagehands, and others associated with the performances were also forced to move as a result of the death of their livelihood; despite the move of everyone involved in kabuki performance, and many in
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in Edo. The widespread appeal of kabuki often meant that a diverse crowd of different social classes gathered to watch performances, a unique occurrence that happened nowhere else in the city of Edo. Kabuki theatres became well known as a place to both see and be seen in terms of fashion and style,
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After performances, women performers would offer sexual services for those who could afford it. Since fights would usually erupt among the young samurai patrons, shogunal authorities, who wanted to maintain order, banned women from performing on stage. Following this ban, Okuni replaced the women
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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
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In
November 2002, a statue was erected in honor of kabuki's founder, Izumo no Okuni and to commemorate 400 years of kabuki's existence. Diagonally across from the Minami-za, the last remaining kabuki theater in Kyoto, it stands at the east end of a bridge (Shijō Ōhashi) crossing the Kamo River in
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The focus of kabuki performances also increasingly began to emphasise drama alongside dance. However, the ribald nature of kabuki performances continued, with male actors also engaging in sex work for both female and male customers. Audiences frequently became rowdy, and brawls occasionally broke
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Super Kabuki has sparked controversy within the
Japanese population regarding the extent of modification of the traditional art form. Some say that it has lost its 400-year history, while others consider the adaptations necessary for contemporary relevance. Regardless, since incorporating more
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The introduction of earphone guides in 1975, including an
English version in 1982, helped broaden the artform's appeal. As a result, in 1991 the Kabuki-za, one of Tokyo's best known kabuki theaters, began year-round performances and, in 2005, began marketing kabuki cinema films. Kabuki troupes
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poses. In contrast, Kamigata kabuki focused on natural and realistic styles of acting. Only towards the end of the Edo period did the two styles begin to merge to any significant degree. Before this time, actors from different regions often failed to adjust their acting styles when performing
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Saruwaka-machi became the new theatre district for the
Nakamura-za, Ichimura-za and Kawarazaki-za theatres. The district was located on the main street of Asakusa, which ran through the middle of the small city. The street was renamed after Saruwaka Kanzaburo, who initiated Edo kabuki in the
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The curtain that shields the stage before the performance and during the breaks is in the traditional colours of black, red and green, in various order, or white instead of green, vertical stripes. The curtain consists of one piece and is pulled back to one side by a staff member by hand.
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The shogunate, mostly disapproving of the socialisation and trade that occurred in kabuki theatres between merchants, actors and prostitutes, took advantage of the fire crisis in the following year, forcing the
Nakamura-za, Ichimura-za and Kawarazaki-za out of the city limits and into
368:, known for his interest in pederasty. He even arranged special performances. However, after Iemitsu's death in 1651 and with samurai now fighting for the attention of boys rather than girls, the shogunate imposed further restrictions, allowing only males over 15 to perform on stage.
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period, kabuki thrived, with the structure of kabuki plays formalising into the structure they are performed in today, alongside many other elements which eventually came to be recognised as a key aspect of kabuki tradition, such as conventional character tropes. Kabuki theater and
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the surrounding areas, to the new location of the theatres, the inconvenience of the distance led to a reduction in attendance. These factors, along with strict regulations, pushed much of kabuki "underground" in Edo, with performances changing locations to avoid the authorities.
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The theatres' new location was called
Saruwaka-chō, or Saruwaka-machi; the last thirty years of the Tokugawa shogunate's rule is often referred to as the "Saruwaka-machi period", and is well known for having produced some of the most exaggerated kabuki in Japanese history.
1185:, 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
1146:(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 or certain parts of the auditorium. This is similar to the wire trick in the stage musical
1071:(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
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pieces place their emphasis on dance, which may be performed with or without dialogue, where dance can be used to convey emotion, character and plot. Quick costume change techniques may sometimes be employed in such pieces. Notable examples include
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Since feudal laws in 17th century Japan prohibited replicating the looks of samurai or nobility and the use of luxurious fabrics, the kabuki costumes were groundbreaking new designs to the general public, even setting trends that still exist today.
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is an expression of the character's nature: red lines are used to indicate passion, heroism, righteousness, and other positive traits; blue or black, villainy, jealousy, and other negative traits; green, the supernatural; and purple, nobility.
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Although kabuki was performed widely across Japan, the
Nakamura-za, Ichimura-za and Kawarazaki-za theatres became the most widely known and popular kabuki theatres, where some of the most successful kabuki performances were and still are held.
126:. The art form later developed into its present all-male theatrical form after women were banned from performing in kabuki theatre in 1629. Kabuki developed throughout the late 17th century and reached its zenith in the mid-18th century.
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was not introduced until the Meiji era following the introduction of western influence. These are more ornate in their appearance and are woven. They depict the season in which the performance is taking place, often designed by renowned
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Kabuki, like other forms of drama traditionally performed in Japan, was—and sometimes still is—performed in full-day programmes, with one play comprising a number of acts spanning the entire day. However, these plays—particularly
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region. Of the many popular young stars who performed with the
Takechi Kabuki, Nakamura Ganjiro III (b. 1931) was the leading figure, first known as Nakamura Senjaku before taking his current name. It was this period of kabuki in
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was another popular medium for kabuki consumption among commoners and elites alike. During the course of its publication, this magazine allowed those unable to attend performances to enjoy the liveliness of kabuki culture.
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posited a difficult time for kabuki; besides the war's physical impact and devastation upon the country, some schools of thought chose to reject both the styles and artforms of pre-war Japan, kabuki amongst them. Director
643:, were inspired by Japanese woodblock prints. This Western interest prompted Japanese artists to increase their depictions of daily life, including the depiction of theatres, brothels, main streets and so on. One artist,
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as the first Super Kabuki production to premiere in 1986, remakes of traditional plays and new contemporary creations have been brought to local theaters throughout the country, including anime-based productions such as
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led to a series of fires affecting Edo, with kabuki theatres—traditionally made of wood—frequently burning down, forcing many to relocate. When the area that housed the Nakamura-za was completely destroyed in 1841, the
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or "belly acting", which means he has to perform from within to change characters. It is technically difficult to perform and takes a long time to learn, but once mastered the audience takes up on the actor's emotion.
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Emotions are also expressed through the colours of the costumes, a key element in kabuki. Gaudy and strong colours can convey foolish or joyful emotions, whereas severe or muted colours convey seriousness and focus.
4003:—All about Japan's traditional Theatre Art of Kabuki: The art, the plays, the great stars of today, the legends of the past, the theaters, the history, the glossary, the traditions, the heroes and the derivatives.
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The main actor has to convey a wide variety of emotions between a fallen, drunkard person and someone who in reality is quite different since he is only faking his weakness, such as the character of Yuranosuke in
1493:, one of the most famous plays in the kabuki repertoire, serves as an excellent example; it is ostensibly set in the 1330s, though it actually depicts the contemporary (18th century) affair of the revenge of the
422:-acted roles. Young (adolescent) men were still preferred for women's roles due to their less obviously masculine appearance and the higher pitch of their voices. The roles of adolescent men in kabuki, known as
1648:) from an expert audience member, serving both to express and enhance the audience's appreciation of the actor's achievement. An even greater compliment can be paid by shouting the name of the actor's father.
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and in collaboration with those whose families have been in the kabuki industry for generations. The kimono the actors wear for their costumes are typically made with vibrant colours and multiple layers. Both
1686:—were commonly sequenced with acts from other plays in order to produce a full-day programme, as the individual acts in a kabuki play commonly functioned as stand-alone performances in and of themselves.
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upon the death of their master, Lord Takuminokami of the Asano clan. This story is one of the most popular traditional tales in Japan, and is based on a famous episode in 18th century Japanese history.
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are grand naming ceremonies held in kabuki theatres in front of the audience. Most often, a number of actors will participate in a single ceremony, taking on new stage-names. Their participation in a
303:
Much of the appeal of kabuki in this era was due to the ribald, suggestive themes featured by many troupes; this appeal was further augmented by the fact that many performers were also involved in
1807:
and the Kyoto-Osaka region (Kamigata) differed; throughout the Edo period, Edo kabuki was defined by its extravagance, both in the appearance of its actors, their costumes, stage tricks and bold
377:, in the mid-1600s. Adult male actors, however, continued to play both female and male characters, and kabuki retained its popularity, remaining a key element of the Edo period urban life-style.
1344:, or the wig. Each actor has a different wig made for every role, constructed from a thin base of hand-beaten copper custom-made to fit the actor perfectly, and each wig is usually styled in a
348:, clothes and fashion often dramatic in appearance, famous actors and stories often intended to mirror current events. Performances typically lasted from morning until sunset, with surrounding
1737:, where events speed up, culminating almost always in a great moment of drama or tragedy in the third act, and possibly a battle in the second or fourth acts. The final act, corresponding to
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playwright Chikamatsu; these center on romantic couples who cannot be together in life due to various circumstances and who therefore decide to be together in death instead. Many if not most
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referred originally to those who were bizarrely dressed. It is often translated into English as 'strange things' or 'the crazy ones', and referred to the style of dress worn by gangs of
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was pervasive among samurai, her decision didn't significantly harm the theater's popularity. In fact, it may have even benefited Kabuki, as it caught the attention of the third
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Despite the revival of kabuki in another location, the relocation diminished the tradition's most abundant inspirations for costuming, make-up, and storylines. Ichikawa Kodanji
1718:, a pacing convention in theatre stating that the action of a play should start slow, speed up, and end quickly. The concept, elaborated on at length by master Noh playwright
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roles. The Ichikawa Shōjo Kabuki Gekidan, an all-female troupe, debuted in 1953 to significant acclaim, though the majority of kabuki troupes have remained entirely-male.
2263:. Also referred to as "amateur kabuki", these performances took place at the local level across Japan, but were most commonly held in the Gifu and Aichi prefectures. In
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plays, it was adapted for kabuki, eventually becoming popular enough to reportedly inspire a number of real-life "copycat" suicides, and leading to a government ban on
508:, one of the first professional kabuki playwrights, produced several influential works during this time, though the piece usually acknowledged as his most significant,
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kabuki was a prominent feature of the annual autumn festival, with children's reenactments of kabuki performances taking place at Murakuni shrine for over 300 years.
1091:
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.
1083:("lighted revolve"), sometimes simultaneously performing the transitioning scenes for dramatic effect. This stage was first built in Japan in the early 18th century.
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playwrights in that time. Little of note would occur in the further development of kabuki until the end of the century, when it began to reemerge in popularity.
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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.
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799:. In addition to the handful of major theatres in Tokyo and Kyoto, there are many smaller theatres in Osaka and throughout the countryside. The Ōshika Kabuki
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taking its place as the premier form of stage entertainment among the lower social classes. This occurred partly because of the emergence of several skilled
1722:, governs not only the actions of the actors, but also the structure of the play, as well as the structure of scenes and plays within a day-long programme.
778:
Today, kabuki is the most popular of the traditional styles of Japanese drama, with its star actors often appearing in television or film roles. Well-known
111:
worn by some of its performers. The term kabuki originates from a verb that was used to describe young samurai patrons, meaning "being weird" or "offbeat."
1778:
plays tend to have serious, emotionally dramatic, and organised plots, plays written specifically for kabuki generally have looser, more humorous plots.
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Wars of the 1330s, or other historical events. Frustrating the censors, many shows used these historical settings as metaphors for contemporary events.
688:. His kabuki performances became quite popular once the Saruwaka-machi period ended and theatre returned to Edo; many of his works are still performed.
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are always dressed entirely in black and are traditionally considered invisible. Stagehands also assist in a variety of quick costume changes known as
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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
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providing meals, refreshments and place to socialise. The area surrounding kabuki theatres also featured a number of shops selling kabuki souvenirs.
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revelation or transformation. A number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations. The term
2276:
Closer to the cultural epicenter of kabuki in Edo (later Tokyo), commoners had other methods to enjoy performances without attending the shows.
852:, adapting them to modern contexts. There have even been kabuki troupes established in countries outside Japan. For instance, in Australia, the
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While there are many famous plays known today, many of the most famous were written in the mid-Edo period, and were originally written for
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IV was considered one of the most active and successful actors during the Saruwaka-machi period. Deemed unattractive, he mainly performed
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are often used. This involves layering one costume over another and having a stagehand pull the outer one off in front of the audience.
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One important way the laboring class was able to enjoy kabuki performances outside of the stage was through home-brewed shows called
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1299:- pleated trousers – in some plays, and both use padding underneath their costumes to create the correct body shape for the outfit.
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1077:("darkened revolve") technique involves lowering the stage lights during this transition. More commonly the lights are left on for
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advanced technology in the new stage sets, costumes, and lighting, Super Kabuki has regained interest from the young demographic.
1731:, an auspicious and slow opening which introduces the audience to the characters and the plot. The next three acts correspond to
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plays, in contrast, were generally not sequenced with acts from other plays, and genuinely would take the entire day to perform.
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regularly tour Asia, Europe and America, and there have been several kabuki-themed productions of Western plays such as those of
100:. Kabuki theatre is known for its heavily stylised performances, its glamorous, highly decorated costumes, and for the elaborate
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766:'s popular and innovative productions of kabuki classics at this time are credited with sparking new interest in kabuki in the
400:(lit., "young man kabuki"), was established, following the ban on women and young boys. Cross-dressing male actors, known as "
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1923:(845–903), who is exiled from Kyoto, and upon his death causes a number of calamities in the capital. He is then deified, as
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franchise's 35th anniversary, it is scheduled to be performed at the IHI Stage Around Tokyo from March 4 to April 12, 2023.
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1000:, a walkway which extends into the audience and via which dramatic entrances and exits are made. Okuni also performed on a
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2679:"Visions of People: The Influences of Japanese Prints Ukiyo-e Upon Late Nineteenth and Early Twentieth Century French Art"
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Jones, Stanleigh H. Jr. (trans.)(1993). "Yoshitsune and the Thousand Cherry Trees." New York: Columbia University Press.
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Chūnori: Kunitarō Sawamura II as Kitsune Tadanobu (left) flying over the stage, in the autumn of 1847 production of
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Beginning in 1868, enormous cultural changes, such as the fall of the Tokugawa shogunate, the elimination of the
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focuses on the story and on the chanter who recites it, kabuki has a greater focus on the actors themselves. A
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out, sometimes over the favors of a particularly popular or handsome actor, leading the shogunate to ban first
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During the time period of 1628–1673, the modern version of all-male kabuki actors, a style of kabuki known as
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2873:. Robert Ricketts and Sebastian Swann (translators and adapters). New York & London: Continuum. pp.
979:("A Scene from A Play") by Masanobu Okumura (1686–1764), depicting Edo Ichimura-za theatre in the early 1740s
428:, were also played by young men, often selected for their attractiveness; this became a common practice, and
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be influenced by the books and stories circulating in Japan. In one such instance, the widely popular book
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pioneered and popularised the use of kabuki in modern settings and revived other traditional arts, such as
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figure prominently, as their deaths ensure a complete end to the war and the arrival of peace, as does a
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has performed a kabuki drama each year since 1976, the longest regular kabuki performance outside Japan.
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1614:, in which the actor holds a picturesque pose to establish his character. At this point his house name (
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European artists began noticing Japanese theatrical performances and artwork, and many artists, such as
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1027:, often translated as "playing to the gallery", is sometimes used as a catch-all for these tricks. The
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2934:. Performing Arts of Japan: II. Don Kenny (trans.). New York & Tokyo: Walker/Weatherhill. p.
834:. Western playwrights and novelists have also experimented with kabuki themes, an example of which is
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Woodblock print of Famous Heroes of the Kabuki Stage Played by Frogs by Utagawa Kuniyoshi (1798–1861)
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Kabuki actors are typically part of a school of acting, or are associated with a particular theatre.
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elsewhere, leading to unsuccessful performance tours outside of their usual region of performance.
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501:, became closely associated with each other, mutually influencing the other's further development.
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as an intangible heritage possessing outstanding universal value. In 2008, it was inscribed in the
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was a type of performance shorter in length and more affordable to the common class than kabuki.
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performances were often based on plots used in kabuki, and the two styles shared common themes.
1208:("quick change technique"). When a character's true nature is suddenly revealed, the devices of
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Kabuki became a common form of entertainment in the red-light districts of Japan, especially in
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aimed to broaden its appeal by creating a new genre of kabuki productions called "Super Kabuki"
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with boys in Kabuki performances. During the early seventeenth century, within a culture where
285:, began performing with a troupe of young female dancers a new, simple style of dance drama in
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3337:[Kinoshita Group presents 'New Final Fantasy X Kabuki'] (in Japanese). Archived from
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plays, Noh plays, folklore, or other performing traditions such as the oral tradition of the
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provides an element of style easily recognizable even by those unfamiliar with the art form.
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Za Kabuki Troupe, "Za Kabuki 2012: Who We Are." Last modified 2012. Accessed 28 April 2013.
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would prove successful, with the Emperor sponsoring a kabuki performance on 21 April 1887.
647:, produced a series of prints based on Saruwaka from the Saruwaka-machi period in Asakusa.
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is therefore sometimes translated as 'the art of singing and dancing'. These are, however,
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Thornbury, Barbara E. "Sukeroku's Double Identity: The Dramatic Structure of Edo Kabuki".
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2390:, a traditional Japanese puppet theatre from whose scripts many kabuki plays were adapted
1935:("divine spirit") of scholarship, and worshipped in order to propitiate his angry spirit.
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The structure of a full-day performance was derived largely from the conventions of both
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As an art-form, kabuki also provided inventive new forms of entertainment, featuring new
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commonly wrote plays that depicted the common lives of the people of Edo. He introduced
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as the audience—commonly comprising a number of socially low but economically wealthy
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Kabuki, a Mirror of Japan: Ten Plays that Offer a Glimpse into Evolving Sensibilities
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3362:"Final Fantasy X Kabuki Adaptation Gets New CM Narrated by Tidus VA Masakazu Morita"
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to traps descending. This technique is often used to lift an entire scene at once.
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has appeared in several non-kabuki plays and movies, often in the role of a woman.
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Playing for the Majors and the Minors: Ichikawa Girls' Kabuki on the Postwar Stage
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contain significant elements of this theme of societal pressures and limitations.
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refused to allow the theatre to be rebuilt, saying that it was against fire code.
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Toita, Yasuji (1970). Kabuki: The Popular Theater. New York: Weatherhill. pp 6–8.
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ceremony of Ichikawa En'ō II, Ichikawa Ennosuke IV and Ichikawa Chūsha IX at the
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generally related to themes of family drama and romance. Some of the most famous
3305:"Charismatic Actors and Devout Audiences: Kabuki Meets Anime in Super Kabuki II"
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enhances or exaggerates facial lines to produce dramatic animal or supernatural
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can also be interpreted as 'avant-garde' or 'bizarre' theatre. The expression
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Photographic Kabuki Kaleidoscope, I. Somegoro and K. Rinko, 2017. Shogakukan.
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While many plays were written solely for kabuki, many others were taken from
462:
Oniji Ōtani III (Nakazō Nakamura II) as Edobee in the May 1794 production of
19:
This article is about Japanese theater. For American political pretense, see
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6 (1982). Ann Arbor: Center for Japanese Studies, University of Michigan. 13
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3649:"From Yomihon to Gôkan: Repetition and Difference in Late Edo Book Culture"
3425:"Art made to be viewed with the curtains closed - AJW by the Asahi Shimbun"
3020:
Rising from the Flames: The Rebirth of Theater in Occupied Japan, 1945–1952
2359:
2042:
1725:
Nearly every full-length play occupies five acts. The first corresponds to
1548:
330:
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122:, formed a female dance troupe that performed dances and light sketches in
3229:
2833:
2374:, an imprint of the face make-up of kabuki actors, as artwork and souvenir
1348:. The hair used in the wigs is typically real human hair hand-sewn onto a
199:. The kanji of 'skill' generally refers to a performer in kabuki theatre.
135:
UNESCO Representative List of the Intangible Cultural Heritage of Humanity
4049:
3572:
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2120:
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represents their passage into a new chapter of their performing careers.
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musicians may be seated in rows on stepped platforms behind the dancers.
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343:
103:
60:
53:
3698:"KABUKI: HISTORY, THEMES, FAMOUS PLAYS AND COSTUMES | Facts and Details"
2245:, or Eight Dogs, was acted out in various episodes on the kabuki stage.
1254:
Although the earliest kabuki costumes have not been preserved, separate
2385:
2349:
2279:
1891:
1850:
1743:, is almost always short, providing a quick and satisfying conclusion.
1634:
1617:
1591:
1390: in this section. Unsourced material may be challenged and removed.
1349:
1313:
1271:
1237:
1137:
Traditional striped black-red-green curtain, at the Misono-za in Nagoya
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496:
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Kabuki actors Bando Zenji and Sawamura Yodogoro; 1794, fifth month by
333:—typically used a performance as a way to feature the fashion trends.
3171:
3169:
3167:
2478:
2464:, a light novel, manga, and anime series about a boy who loves kabuki
2180:
1532:
1294:
1188:
767:
361:
130:
3884:
Kabuki. Ed. Shoriya Aragoro. 9 September 1999. 25 November 2007 <
3119:
3032:
3030:
3028:
2959:
1158:(visual tricks) in kabuki today; major kabuki theaters, such as the
879:
While still maintaining most of the historical practices of kabuki,
450:
roles for a short period of time; both bans were rescinded by 1652.
3628:
Miyake, Shutarō (1971). "Kabuki Drama". Tokyo: Japan Travel Bureau.
2972:
1849:, led by Oishi Kuranosuke, who exact revenge on their enemy before
567:
In the mid-18th century, kabuki fell out of favor for a time, with
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4075:"Kabuki Performance and Expression in Japanese Prints" exhibition
3981:
3520:
A Kabuki Reader: History and Performance: History and Performance
3097:
4011:
photograph of Kabuki-za in Kyobashi-ku, Kobiki-cho, Tokyo (1900)
3924:
Male Colors: The Construction of Homosexuality in Tokugawa Japan
2902:. Tokyo, New York, London: Kodansha International. p. 232.
1930:
1535:
and peasants. Often referred to as "domestic plays" in English,
1352:
base, though some styles of wig require yak hair or horse hair.
1325:
276:
3517:
Pronko, Leonard C. (12 February 2015). Samuel L. Leiter (ed.).
3208:"UNESCO Culture Sector – Intangible Heritage – 2003 Convention"
3075:
1268:
kabuki costumes today are made based on written records called
307:. For this reason, kabuki was also known as 'prostitute kabuki'
3152:
Negishi, K, and M Tomoeda. "ANU Za Kabuki." Monsoon, 2010, 26.
2784:"Successful Period | History of Kabuki | INVITATION TO KABUKI"
2377:
1943:
1804:
1359:
849:
49:
212:, meaning 'to lean' or 'to be out of the ordinary', the word
4116:
Masterpieces of the Oral and Intangible Heritage of Humanity
4086:
Museum of Art and Archaeology at the University of Missouri
4000:
3885:
3338:
2900:
The Stars Who Created Kabuki; Their Lives, Loves and Legacy
680:(seven-and-five syllable meter) dialogue and music such as
3970:. Tokyo: Japan Publishing Industry Foundation for Culture.
1787:
and kabuki is a difference in storytelling focus; whereas
546:
Also during the Genroku period was the development of the
699:
to kabuki, and introduced twists on traditional stories.
3065:, 28 December 2010, p. 3, retrieved on 29 December 2010.
1701:
and Noh theatre. Chief amongst these was the concept of
775:
that became known as the "Age of Senjaku" in his honor.
623:, a northern suburb of Edo. This was part of the larger
3570:
Quinn, Shelley Fenno. "How to write a Noh play—Zeami's
2467:
3161:
Sign (in English) for Izumo no Okuni's statue in Kyoto
2835:
Redacted: the archives of censorship in transwar Japan
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3894:
Japanese Theatre in Highlight: A Pictorial Commentary
3547:
Historical Dictionary of Japanese Traditional Theatre
3401:
Ukon Ichikawa as Genkurō Kitsune flying over audience
3142:
https://sites.google.com/site/zakabuki2010/who-we-are
2809:
Kabuki Chronology of the 19th century at Kabuki21.com
2593:. New York: Oxford University Press. pp. 45–46.
2476:
1033:, and several innovations including revolving stage,
820:
Some local kabuki troupes today use female actors in
493:, an elaborate form of puppet theater later known as
300:
born as ensemble dance and drama performed by women.
3309:
Electronic Journal of Contemporary Japanese Studies
2430:, a Japanese magazine on kabuki that ran 1879–1897.
951:
Kinoshita Group presents New Kabuki Final Fantasy X
3845:
3832:
2703:
2701:
2699:
1525:, which generally focused upon the samurai class,
1338:Another special feature of kabuki costumes is the
114:Kabuki is thought to have originated in the early
3872:Japanese Culture - Entertainment - Kabuki Theater
2519:. New York: Oxford University Press. p. 46.
3410:in the July 2005 National Theatre production of
983:The kabuki stage features a projection called a
691:In 1868, the Tokugawa ceased to exist, with the
2300:
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2040:
2014:
1702:
1632:
1615:
1600:
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262:The history of kabuki began in 1603 during the
217:
4036:Kabuki prints by Utagawa Kuniyoshi (1798–1861)
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2157:
2049:
2021:
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1318:base for the characteristic stage makeup, and
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912:
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709:Censorship in Japan § Occupation of Japan
310:
226:
176:
166:
156:
85:
2661:
2659:
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2655:
2653:
2651:
2649:
2647:
1418:The three main categories of kabuki play are
558:, alongside the development of the mask-like
371:Kabuki switched to adult male actors, called
289:, on a makeshift stage in the dry bed of the
8:
3984:—Shochiku Official Kabuki Website in English
3903:"History of Kabuki: Birth of Saruwaka-machi"
3448:
3446:
3022:. Rowman & Littlefield, 2009. pp. 75–85.
2921:
2919:
2838:. Berkeley: University of California Press.
1450:, "domestic" or post-Sengoku period stories)
564:makeup worn by kabuki actors in some plays.
4050:Audio recording of the kabuki play Narukami
3773:: CS1 maint: numeric names: authors list (
2754:". Kabuki Jiten. Retrieved 9 February 2007.
1978:. Unsourced material may be challenged and
1433:, historical or pre-Sengoku period stories)
434:were often presented in an erotic context.
4062:, (audio only; with Faubion Bowers et al.)
3823:, Paul Griffith and Akihiko Senda (2004).
2762:
2760:
2552:
2550:
554:style of posing, credited to kabuki actor
129:In 2005, kabuki theatre was proclaimed by
3858:The Changing Room: Sex, Drag, and Theatre
3664:
3624:
3622:
3582:, vol 48, issue 1 (Spring 1993). pp53–88.
3120:"Kabuki Tours in North And South America"
1998:Learn how and when to remove this message
1843:) is the famous story of the forty-seven
1599:Important elements of kabuki include the
1531:focused primarily upon commoners, namely
1406:Learn how and when to remove this message
869:UNESCO Intangible Cultural Heritage Lists
3590:
3588:
3459:Oxford Research Encyclopedia of Classics
3384:
3382:
2582:
2580:
2578:
2576:
2574:
2572:
2570:
2380:, a traditional form of Japanese theatre
2229:
1919:) is based on the life of famed scholar
1745:
66:
31:
3870:Japanese Culture. 25 November 2007 <
3863:Facts JPN-kabuki. 25 November 2007 <
3852:. London: George Allen & Unwin Ltd.
3497:"Kabuki « MIT Global Shakespeares"
3467:10.1093/acrefore/9780199381135.013.7006
3360:Komatsu, Mikikazu (13 September 2022).
2820:
2505:
2393:Famous kabuki actor lineages, such as:
1876:as he flees from agents of his brother
939:announced a Super Kabuki adaptation of
195:characters which do not reflect actual
3766:
2665:
2226:Influence of kabuki on other art forms
4060:1969 'Camera Three' program on Kabuki
3544:Leiter, Samuel L. (16 January 2006).
3388:
3335:"木下グループ presents『新作歌舞伎 ファイナルファンタジーX』"
2731:
2719:
2707:
543:(plays about love suicides) in 1723.
7:
4070:University of Michigan Museum of Art
3997:—The English language Earphone Guide
3896:. Westport: Greenwood P. p. 83.
3839:. New York: Oxford University Press.
2773:. London: MacMillan and Co. pp21–22.
2638:
2556:"Kabuki" in Frederic, Louis (2002).
1976:adding citations to reliable sources
1675:Play structure and performance style
1631:) is sometimes heard in loud shout (
1388:adding citations to reliable sources
1103:refers to trap(s) moving upward and
1045:have all contributed to kabuki. The
206:is believed to derive from the verb
3905:. Watanabe Norihiko. Archived from
3817:. USA and Japan: Charles E. Tuttle,
3749:"G06 The First Theatrical Magazine"
3175:Lonely Planet Kyoto, 2012, page 169
2960:Contemporary Actors at Kabuki21.com
1227:An additional outer curtain called
662:, or dancing, in dramas written by
96:, mixing dramatic performance with
3953:Kabuki: Baroque Fusion of the Arts
3926:. University of California Press.
3278:"Artist Interview: Yuichiro Kanai"
3252:"ワンピース・NARUTO・初音ミク 現代の歌舞伎は「超歌舞伎」へ"
2771:Kabuki: The Popular Stage of Japan
2590:Japan and the Shackles of the Past
2516:Japan and the Shackles of the Past
1884:generals supposedly killed in the
604:In the 1840s, repeated periods of
416:" took over previously female- or
14:
3794:Kabuki's Forgotten War: 1931–1945
3453:Macintosh, Fiona (30 July 2015),
3057:Kabuki going strong, 400 years on
3038:Kabuki going strong, 400 years on
2683:Yale-New Haven Teachers Institute
1750:The September 1824 production of
1551:plays, adapted from works by the
71:Onoe Kikugorō VI as Umeō-maru in
3827:. Japan: Kodansha International.
3550:. Scarecrow Press. p. 115.
3303:Ohsawa, Yuki (30 January 2024).
2975:. Kabuki21.com. 31 December 2013
2327:
1948:
1364:
953:and part of celebrations of the
791:Kabuki also appears in works of
717:The November 1895 production of
454:1673–1841: Genroku period kabuki
3753:The Most Curiosity Kabuki World
3647:Reichert, James R. (May 2017).
2962:. (Retrieved 18 December 2006.)
1781:One crucial difference between
1375:needs additional citations for
258:, the founder of kabuki (1600s)
3796:. University of Hawaii Press.
2870:The Allied Occupation of Japan
1917:and the Secrets of Calligraphy
1063:provide a vertical dimension.
858:Australian National University
525:), was originally written for
16:Classical Japanese dance-drama
1:
3877:Kabuki. 25 November 2007 <
3825:A Guide to the Japanese Stage
3282:Performing Arts Network Japan
2811:(Retrieved 18 December 2006.)
1906:Sugawara Denju Tenarai Kagami
1870:and the Thousand Cherry Trees
1507:The March 1849 production of
749:Post-war to modern day kabuki
74:Sugawara Denju Tenarai Kagami
3653:The Journal of Asian Studies
2560:. Cambridge, Massachusetts:
1310:is used to create the white
867:Kabuki was inscribed on the
817:Prefecture, is one example.
666:, who also wrote during the
36:The July 1858 production of
4066:Collection: "Kabuki Images"
3848:The Kabuki Theatre of Japan
3461:, Oxford University Press,
3018:. In: Leiter, Samuel (ed).
2932:Kabuki: The Popular Theater
2486:
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2015:
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1845:
1841:Treasury of Loyal Retainers
1833:
1824:
1809:
1795:
1789:
1783:
1774:
1762:
1756:at Kado-za theatre in Osaka
1752:
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408:" (lit., "woman role") or "
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275:
218:
208:
189:
102:
73:
38:
4137:
3792:Brandon, James R. (2009).
3523:. Routledge. p. 248.
1515:at Edo Nakamura-za theater
706:
693:restoration of the Emperor
597:Kabuki Scene (Diptych) by
118:, when the art's founder,
18:
3949:Kawatake, Toshio (2006).
3666:10.1017/S0021911817000031
3230:"市川猿翁 2 | 歌舞伎俳優名鑑 現在の俳優篇"
3046:, 28 December 2010, p. 3,
2898:Kominz, Laurence (1997).
2832:Abel, Jonathan E (2012).
2541:"UNESCO – Kabuki theatre"
2310:
2287:
2257:
2170:
2158:
2050:
2022:
1712:
1642:
1625:
1608:
1463:
1446:
1429:
1196:
1021:
994:
947:Tokyo Broadcasting System
913:
896:
886:
803:
465:Koi Nyōbo Somewake Tazuna
385:1629–1673: Transition to
311:
254:The earliest portrait of
227:
177:
167:
157:
86:
4111:Japanese art terminology
3993:21 November 2021 at the
3412:Yoshitsune Senbon Zakura
3098:"Kabuki Tours in Europe"
2928:"Zenshin-za Innovations"
2587:Murphy, Taggart (2014).
2562:Harvard University Press
2513:Murphy, Taggart (2014).
1859:Yoshitsune Senbon Zakura
1170:, are all equipped with
1126:Yoshitsune Senbon Zakura
793:Japanese popular culture
703:Post-Meiji period kabuki
246:1603–1629: Female kabuki
3962:Matsui, Kesako (2016).
3957:. Tokyo: I-House Press.
3922:Leupp, Gary P. (1997).
3901:Masato, Takaba (2007).
3892:Haar, Francils (1971).
3747:8P (21 December 2015).
3406:10 January 2010 at the
2867:Takemae, Eiji (2002) .
2750:6 February 2012 at the
2619:Encyclopedia Britannica
2615:"Okuni | Kabuki dancer"
1051:creates depth and both
92:is a classical form of
25:Kabuki (disambiguation)
3815:Kabuki: A Pocket Guide
3076:"Kabuki Tours in Asia"
2926:Toita, Yasuji (1970).
2242:Nansō Satomi Hakkenden
2235:
2094:
2082:
2033:
2032:in Nagoya (March 2013)
1874:Minamoto no Yoshitsune
1757:
1516:
1138:
1130:
980:
753:The ensuing period of
730:
601:
504:The famous playwright
479:
468:
259:
149:that make up the word
77:
64:
23:. For other uses, see
4080:15 April 2021 at the
4007:National Diet Library
3856:Senelick, L. (2000).
3844:Scott, A. C. (1955).
2233:
2088:
2076:
2013:
1921:Sugawara no Michizane
1835:Kanadehon Chūshingura
1803:Kabuki traditions in
1749:
1506:
1489:Kanadehon Chūshingura
1136:
1121:
973:
716:
636:Nakamura-za in 1624.
596:
474:
461:
253:
153:can be read as 'sing'
70:
35:
3860:. London: Routledge.
2054:, "name succession")
1972:improve this section
1753:Heike Nyogo-ga-shima
1384:improve this article
1328:. The colour of the
928:starting from 2014.
518:The Love Suicides at
506:Chikamatsu Monzaemon
317:during this period.
61:Utagawa Toyokuni III
3727:www.japan-guide.com
3702:factsanddetails.com
3579:Monumenta Nipponica
3341:on 18 November 2022
2452:Troma Entertainment
2450:and distributed by
2435:Sgt. Kabukiman NYPD
2261:, "village kabuki")
945:collaborating with
46:Ichimura-za theater
4106:History of theatre
4054:Ichikawa Danjūrō I
3909:on 20 January 2013
3835:The Kabuki Theatre
3831:Ernst, E. (1956).
3431:on 8 December 2015
2958:Shōriya, Asagoro.
2807:Shōriya, Asagoro.
2788:www2.ntj.jac.go.jp
2558:Japan Encyclopedia
2412:Nakamura Kanzaburō
2236:
2095:
2083:
2034:
1851:committing suicide
1758:
1517:
1481:of the 1180s, the
1346:traditional manner
1139:
1131:
981:
949:in 2022. Entitled
786:Bandō Tamasaburō V
731:
602:
556:Ichikawa Danjūrō I
480:
469:
326:red-light district
260:
78:
65:
3803:978-0-8248-3200-1
3476:978-0-19-938113-5
3455:"dance reception"
3284:. 14 October 2008
2973:"Kabuki Theaters"
2845:978-0-520-27334-4
2677:Flynn, Patricia.
2438:, a 1991 comedic
2407:Matsumoto Kōshirō
2291:, puppet theatre)
2166:Osaka Shōchiku-za
2008:
2007:
2000:
1769:Tale of the Heike
1660:. This is called
1467:, "dance pieces")
1416:
1415:
1408:
809:troupe, based in
645:Utagawa Hiroshige
324:, the registered
98:traditional dance
4128:
4121:Theatre of Japan
4056:at LostPlays.com
4031:Kakuki-za (1915)
4027:Kabuki-za (1912)
4023:Kabuki-za (1911)
4019:Kakuki-za (1909)
4015:Kakuki-za (1901)
3971:
3958:
3937:
3918:
3916:
3914:
3897:
3865:facts JPN-kabuki
3853:
3851:
3840:
3838:
3807:
3779:
3778:
3772:
3764:
3762:
3760:
3744:
3738:
3737:
3735:
3733:
3719:
3713:
3712:
3710:
3708:
3693:
3687:
3686:
3668:
3644:
3638:
3635:
3629:
3626:
3617:
3614:Japanese Studies
3610:
3604:
3601:
3595:
3592:
3583:
3568:
3562:
3561:
3541:
3535:
3534:
3514:
3508:
3507:
3505:
3503:
3493:
3487:
3486:
3485:
3483:
3450:
3441:
3440:
3438:
3436:
3427:. Archived from
3421:
3415:
3398:
3392:
3391:, pp. 55–56
3386:
3377:
3376:
3374:
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3094:
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3087:
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3072:
3066:
3053:
3047:
3034:
3023:
3014:Edelson, Loren.
3012:
3006:
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2991:
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2799:
2798:
2796:
2794:
2780:
2774:
2764:
2755:
2741:
2735:
2729:
2723:
2722:, pp. 91–92
2717:
2711:
2710:, pp. 10–12
2705:
2694:
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2544:
2537:
2531:
2530:
2510:
2491:
2482:
2473:
2463:
2429:
2417:Kataoka Nizaemon
2397:Ichikawa Danjūrō
2389:
2373:
2363:
2353:
2343:Theatre of Japan
2337:
2332:
2331:
2330:
2315:
2314:, "Kabuki news")
2313:
2312:
2306:
2298:
2292:
2290:
2289:
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2272:
2262:
2260:
2259:
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2244:
2175:
2173:
2172:
2163:
2161:
2160:
2131:National Theater
2126:Shinbashi Enbujō
2061:
2055:
2053:
2052:
2046:
2027:
2025:
2024:
2018:
2003:
1996:
1992:
1989:
1983:
1952:
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1934:
1915:
1909:
1895:
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1241:
1232:
1219:
1213:
1207:
1201:
1199:
1198:
1192:
1184:
1175:
1160:National Theatre
1157:
1145:
1129:
1114:
1108:
1102:
1096:
1090:
1082:
1076:
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1062:
1056:
1050:
1044:
1038:
1032:
1026:
1024:
1023:
1017:
1005:
999:
998:, "flower path")
997:
996:
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978:
918:
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909:
901:
899:
898:
891:
889:
888:
843:
825:
808:
806:
805:
783:
724:
687:
679:
672:Kawatake Mokuami
664:Kawatake Mokuami
661:
653:
614:
588:
578:
572:
563:
553:
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536:
530:
524:
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467:
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427:
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347:
316:
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280:
232:
230:
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194:
182:
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179:
172:
170:
169:
162:
160:
159:
107:
94:Japanese theatre
91:
89:
88:
76:
43:
4136:
4135:
4131:
4130:
4129:
4127:
4126:
4125:
4091:
4090:
4082:Wayback Machine
4045:Kabuki Coin Set
3995:Wayback Machine
3978:
3961:
3948:
3945:
3943:Further reading
3940:
3934:
3921:
3912:
3910:
3900:
3891:
3843:
3830:
3804:
3791:
3787:
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3741:
3731:
3729:
3721:
3720:
3716:
3706:
3704:
3696:Hays, Jeffrey.
3695:
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3408:Wayback Machine
3399:
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3368:
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3118:
3117:
3113:
3103:
3101:
3096:
3095:
3091:
3081:
3079:
3074:
3073:
3069:
3055:Martin, Alex, "
3054:
3050:
3036:Martin, Alex, "
3035:
3026:
3013:
3009:
2999:
2997:
2995:"Ōshika Kabuki"
2993:
2992:
2988:
2978:
2976:
2971:
2970:
2966:
2957:
2953:
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2925:
2924:
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2806:
2802:
2792:
2790:
2782:
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2765:
2758:
2752:Wayback Machine
2742:
2738:
2730:
2726:
2718:
2714:
2706:
2697:
2687:
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2675:
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2633:
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2586:
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2534:
2527:
2512:
2511:
2507:
2503:
2333:
2328:
2326:
2323:
2307:
2284:
2265:Gifu Prefecture
2254:
2228:
2167:
2155:
2071:
2047:
2019:
2004:
1993:
1987:
1984:
1969:
1953:
1942:
1820:
1709:
1677:
1639:
1622:
1605:
1460:
1443:
1426:
1412:
1401:
1395:
1392:
1381:
1369:
1358:
1248:
1193:
1176:installations.
1018:
991:
968:
963:
942:Final Fantasy X
910:
893:
883:
877:
844:(2004). Writer
800:
764:Tetsuji Takechi
751:
711:
705:
651:
591:
512:Sonezaki Shinjū
456:
392:
308:
248:
243:
224:
202:Since the word
174:
164:
154:
145:The individual
143:
83:
57:woodblock print
28:
17:
12:
11:
5:
4134:
4132:
4124:
4123:
4118:
4113:
4108:
4103:
4093:
4092:
4089:
4088:
4072:
4063:
4057:
4047:
4038:
4033:
4004:
3998:
3988:Earphone Guide
3985:
3977:
3976:External links
3974:
3973:
3972:
3959:
3944:
3941:
3939:
3938:
3932:
3919:
3898:
3889:
3882:
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3828:
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3808:
3802:
3788:
3786:
3783:
3781:
3780:
3739:
3714:
3688:
3659:(2): 311–332.
3639:
3630:
3618:
3605:
3596:
3584:
3563:
3556:
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3509:
3488:
3475:
3442:
3416:
3393:
3378:
3352:
3326:
3295:
3269:
3243:
3221:
3199:
3188:. Kabuki21.com
3177:
3163:
3154:
3145:
3133:
3122:. Kabuki21.com
3111:
3100:. Kabuki21.com
3089:
3078:. Kabuki21.com
3067:
3048:
3024:
3007:
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2800:
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2736:
2724:
2712:
2695:
2669:
2643:
2631:
2606:
2600:978-0190619589
2599:
2566:
2546:
2532:
2526:978-0190619589
2525:
2504:
2502:
2499:
2498:
2497:
2495:Balinese dance
2492:
2483:
2474:
2465:
2455:
2440:superhero film
2431:
2421:
2420:
2419:
2414:
2409:
2404:
2402:Ichikawa Ebizō
2399:
2391:
2381:
2375:
2365:
2355:
2345:
2339:
2338:
2322:
2319:
2267:specifically,
2227:
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2222:
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2220:
2207:
2206:
2205:
2195:
2194:
2193:
2188:
2178:
2177:
2176:
2164:
2154:Shin-Kabuki-za
2147:
2146:
2145:
2135:
2134:
2133:
2128:
2123:
2118:
2108:
2107:
2106:
2070:
2069:Major theatres
2067:
2006:
2005:
1988:September 2023
1956:
1954:
1947:
1941:
1938:
1937:
1936:
1901:
1854:
1819:
1816:
1676:
1673:
1414:
1413:
1372:
1370:
1363:
1357:
1354:
1247:
1244:
967:
964:
962:
959:
876:
873:
856:troupe at the
841:Hiroshima Bugi
836:Gerald Vizenor
750:
747:
704:
701:
590:
581:
455:
452:
391:
383:
340:played on the
338:musical styles
271:Izumo no Okuni
256:Izumo no Okuni
247:
244:
242:
239:
142:
139:
120:Izumo no Okuni
15:
13:
10:
9:
6:
4:
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3935:
3933:0-520-20900-1
3929:
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3862:
3859:
3855:
3850:
3849:
3842:
3837:
3836:
3829:
3826:
3822:
3821:Ronald Cavaye
3819:
3816:
3812:
3811:Ronald Cavaye
3809:
3805:
3799:
3795:
3790:
3789:
3784:
3776:
3770:
3755:(in Japanese)
3754:
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3564:
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3557:9780810865143
3553:
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3532:
3530:9781315706832
3526:
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3258:(in Japanese)
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2955:
2952:
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2945:0-8027-2424-8
2941:
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2933:
2929:
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2920:
2916:
2911:
2909:4-7700-1868-1
2905:
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2884:0-8264-6247-2
2880:
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2462:
2461:
2456:
2453:
2449:
2445:
2444:Lloyd Kaufman
2441:
2437:
2436:
2432:
2428:
2427:
2426:Kabuki shinpō
2422:
2418:
2415:
2413:
2410:
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2400:
2398:
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2318:
2305:
2304:
2303:Kabuki shinpō
2297:
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2044:
2038:
2031:
2017:
2012:
2002:
1999:
1991:
1981:
1977:
1973:
1967:
1966:
1962:
1957:This section
1955:
1951:
1946:
1945:
1939:
1933:
1932:
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1585:
1578:
1577:
1576:Musume Dōjōji
1569:
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1441:
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1389:
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1379:
1378:
1373:This section
1371:
1367:
1362:
1361:
1355:
1353:
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1336:
1332:
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1322:
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2967:
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2787:
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2767:Kincaid, Zoe
2739:
2734:, p. 92
2727:
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2682:
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2634:
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2618:
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2515:
2508:
2448:Michael Herz
2442:directed by
2433:
2335:Japan portal
2275:
2251:Noson kabuki
2247:
2237:
2089:Interior of
2077:Exterior of
2064:
2039:
2035:
1994:
1985:
1970:Please help
1958:
1916:
1869:
1840:
1821:
1818:Famous plays
1802:
1780:
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1549:love suicide
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1382:Please help
1377:verification
1374:
1337:
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1068:Mawari-butai
1065:
1008:
982:
966:Stage design
954:
950:
940:
934:
930:
925:
921:
878:
875:Super Kabuki
866:
862:
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790:
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759:World War II
752:
743:World War II
740:
732:
690:
677:shichigo-cho
649:
641:Claude Monet
638:
634:
630:
617:
603:
586:Saruwaka-chō
566:
545:
531:. Like many
517:
503:
481:
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393:
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370:
354:
335:
319:
305:prostitution
302:
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283:Izumo-taisha
266:when former
261:
213:
203:
201:
184:
150:
144:
128:
113:
80:
79:
29:
21:Kabuki dance
3435:27 November
3371:23 February
3366:Crunchyroll
3345:23 February
3319:28 February
3288:28 February
3186:"2001~2100"
3062:Japan Times
3043:Japan Times
3000:22 February
2666:Masato 2007
2218:Kanamaru-za
1656:Chūshingura
1533:townspeople
1511:Chūshingura
1483:Nanboku-chō
1356:Performance
1308:Rice powder
1246:Appearances
976:Shibai Ukie
937:Square Enix
832:Shakespeare
670:to follow.
583:1842–1868:
540:shinju mono
482:During the
397:yarō-kabuki
388:yarō-kabuki
374:yaro-kabuki
48:theatre in
4095:Categories
4041:Japan Mint
3982:Kabuki Web
3785:References
3482:19 October
3389:Scott 1955
3262:19 October
3236:19 October
2732:Leupp 1997
2720:Leupp 1997
2708:Ernst 1956
2488:Yakshagana
2191:Suehiro-za
2159:新歌舞伎座 (大阪)
1886:Genpei War
1882:Taira clan
1872:) follows
1866:Yoshitsune
1479:Genpei War
1205:hayagawari
1112:serioroshi
757:following
755:occupation
707:See also:
291:Kamo River
264:Edo period
220:kabukimono
116:Edo period
4068:from the
4001:Kabuki 21
3723:"Bunraku"
3683:165078273
3675:0021-9118
2854:897200923
2639:Haar 1971
2470:Kathakali
2460:Kabukibu!
2350:Kanteiryū
2203:Hakata-za
2186:Misono-za
2143:Minami-za
2116:Kabuki-za
2091:Minami-za
2079:Kabuki-za
2030:Misono-za
1959:does not
1828:theatre.
1705:jo-ha-kyū
1568:Shosagoto
1522:jidaimono
1474:Jidaimono
1456:shosagoto
1422:jidaimono
1396:June 2014
1242:artists.
1182:Hiki Dōgu
1168:Minami-za
1164:Kabuki-za
1149:Peter Pan
1094:Seridashi
1048:hanamichi
1030:hanamichi
1003:hanamichi
987:hanamichi
926:One Piece
871:in 2005.
854:Za Kabuki
727:Kabuki-za
721:Shibaraku
668:Meiji era
599:Yoshitaki
444:and then
358:pederasty
350:teahouses
331:merchants
322:Yoshiwara
287:pantomime
197:etymology
163:, 'dance'
141:Etymology
40:Shibaraku
4078:Archived
3991:Archived
3913:30 April
3813:(1993).
3769:cite web
3759:26 April
3732:26 April
3707:26 April
3404:Archived
2793:26 April
2769:(1925).
2748:Archived
2370:Oshiguma
2321:See also
2215:Kotohira
2121:Meiji-za
2093:in Kyoto
2081:in Tokyo
1913:Sugawara
1880:. Three
1878:Yoritomo
1772:. While
1689:Sewamono
1683:sewamono
1663:hara-gei
1584:Renjishi
1560:sewamono
1547:are the
1544:sewamono
1538:sewamono
1528:sewamono
1439:sewamono
1331:kumadori
1321:kumadori
1287:onnagata
1264:onnagata
1217:bukkaeri
1211:hikinuki
1106:serisage
961:Elements
823:onnagata
795:such as
781:onnagata
684:kiyomoto
561:kumadori
522:Sonezaki
441:onnagata
404:onnagata
344:shamisen
104:kumadori
87:歌舞伎, かぶき
54:Triptych
4084:at the
3502:8 April
3214:25 July
3192:25 July
3126:25 July
3104:25 July
3082:25 July
2979:25 July
2875:390–391
2688:9 April
2386:Bunraku
2296:Bunraku
2280:Bunraku
2198:Fukuoka
1980:removed
1965:sources
1898:Genkurō
1892:kitsune
1825:bunraku
1698:bunraku
1635:kakegoe
1592:Nagauta
1554:bunraku
1519:Unlike
1350:habotai
1341:katsura
1314:oshiroi
1302:Kabuki
1272:ukiyo-e
1238:Nihonga
1173:chūnori
1143:Chūnori
1100:seriage
1074:kuraten
1060:chunori
1042:chunori
902:. With
897:スーパー歌舞伎
864:Kyoto.
735:samurai
729:theatre
621:Asakusa
606:drought
576:bunraku
570:bunraku
534:bunraku
528:bunraku
497:bunraku
484:Genroku
477:Sharaku
447:wakashū
431:wakashu
425:wakashu
419:wakashu
366:Iemitsu
241:History
235:samurai
109:make-up
44:at the
4101:Kabuki
3930:
3886:KABUKI
3879:Kabuki
3800:
3681:
3673:
3554:
3527:
3473:
2942:
2906:
2881:
2852:
2842:
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2523:
2479:Jingju
2360:Kyōgen
2210:Kagawa
2181:Nagoya
2104:Kosaka
2059:shūmei
2043:Shūmei
2016:Shūmei
1940:Actors
1927:Tenjin
1896:named
1796:jōruri
1790:jōruri
1784:jōruri
1775:jōruri
1763:jōruri
1452:, and
1304:makeup
1295:hakama
1230:doncho
1189:kuroko
1080:akaten
922:Naruto
914:ヤマトタケル
815:Nagano
811:Ōshika
784:actor
768:Kansai
741:After
697:genres
652:
612:shōgun
589:kabuki
362:shogun
214:kabuki
209:kabuku
204:kabuki
185:Kabuki
151:kabuki
131:UNESCO
81:Kabuki
3874:>.
3867:>.
3679:S2CID
3573:Sandō
2624:5 May
2501:Notes
2311:歌舞伎新報
2270:noson
2258:農村歌舞伎
2171:大阪松竹座
2150:Osaka
2138:Kyoto
2111:Tokyo
2099:Akita
1846:rōnin
1720:Zeami
1497:rōnin
1326:masks
1291:wear
1280:otoko
1257:otoko
1155:keren
1014:keren
804:大鹿歌舞伎
797:anime
773:Osaka
412:oyama
312:遊女歌舞妓
295:Kyoto
191:ateji
147:kanji
124:Kyoto
3928:ISBN
3915:2009
3888:>
3881:>
3798:ISBN
3775:link
3761:2022
3734:2022
3709:2022
3671:ISSN
3552:ISBN
3525:ISBN
3504:2015
3484:2020
3471:ISBN
3437:2015
3373:2023
3347:2023
3321:2024
3290:2024
3264:2020
3256:ワゴコロ
3238:2020
3216:2014
3194:2014
3128:2014
3106:2014
3084:2014
3002:2007
2981:2014
2940:ISBN
2904:ISBN
2879:ISBN
2850:OCLC
2840:ISBN
2795:2022
2690:2015
2626:2019
2595:ISBN
2521:ISBN
2446:and
1963:any
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1618:yagō
1580:and
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1260:and
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1166:and
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1057:and
1054:seri
1039:and
1036:seri
887:市川猿翁
658:buyō
277:miko
228:歌舞伎者
4052:by
3661:doi
3463:doi
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2936:213
2745:Mie
2378:Noh
1974:by
1810:mie
1805:Edo
1740:kyū
1713:序破急
1643:掛け声
1602:mie
1495:47
1464:所作事
1447:世話物
1430:時代物
1386:by
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