Kabuki - Knowledge

2242: 605: 1758: 1515: 44: 725: 262: 1130: 470: 2022: 1145: 2097: 982: 79: 2085: 1961: 1377: 483: 2340: 706:. 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 1488:, 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 756:, 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 However, by 1947 the ban on kabuki was rescinded, but censorship rules lingered. 2048:

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

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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

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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.

1196:, 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 1157:(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 1082:(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 1582:

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.

137:. 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. 1244:

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

654:, 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, 930:

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.

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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

1504:, 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 433:-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 1659:) 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. 1287:

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

1697:—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. 1864:

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

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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

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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

388:, 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. 1355:, 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 359:, 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 1748:, 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 1568:

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

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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.

2274:. 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 548:

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

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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.

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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.

1094:("lighted revolve"), sometimes simultaneously performing the transitioning scenes for dramatic effect. This stage was first built in Japan in the early 18th century. 3785: 590:

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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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

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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

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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."

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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.

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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

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Closer to the cultural epicenter of kabuki in Edo (later Tokyo), commoners had other methods to enjoy performances without attending the shows.

863:, adapting them to modern contexts. There have even been kabuki troupes established in countries outside Japan. For instance, in Australia, the 4055: 3812: 3485: 2854: 4080: 1833:

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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advanced technology in the new stage sets, costumes, and lighting, Super Kabuki has regained interest from the young demographic.

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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

111:. Kabuki theatre is known for its heavily stylised performances, its glamorous, highly decorated costumes, and for the elaborate 4041: 4037: 4033: 4029: 4025: 4021: 777:'s popular and innovative productions of kabuki classics at this time are credited with sparking new interest in kabuki in the 411:(lit., "young man kabuki"), was established, following the ban on women and young boys. Cross-dressing male actors, known as " 1986: 1934:(845–903), who is exiled from Kyoto, and upon his death causes a number of calamities in the capital. He is then deified, as 1398: 868: 1514: 968:

franchise's 35th anniversary, it is scheduled to be performed at the IHI Stage Around Tokyo from March 4 to April 12, 2023.

4001: 1011:, a walkway which extends into the audience and via which dramatic entrances and exits are made. Okuni also performed on a 4096: 2690:"Visions of People: The Influences of Japanese Prints Ukiyo-e Upon Late Nineteenth and Early Twentieth Century French Art" 1916: 3648:

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

78: 2884:. Robert Ricketts and Sebastian Swann (translators and adapters). New York & London: Continuum. pp. 990:("A Scene from A Play") by Masanobu Okumura (1686–1764), depicting Edo Ichimura-za theatre in the early 1740s 439:, were also played by young men, often selected for their attractiveness; this became a common practice, and 2458: 2417: 1990: 1982: 1975: 1394: 1387: 35: 2250:

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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European artists began noticing Japanese theatrical performances and artwork, and many artists, such as

469: 2422: 1038:, often translated as "playing to the gallery", is sometimes used as a catch-all for these tricks. The 3759: 3345: 2945:. Performing Arts of Japan: II. Don Kenny (trans.). New York & Tokyo: Walker/Weatherhill. p. 845:. Western playwrights and novelists have also experimented with kabuki themes, an example of which is 694: 2245:

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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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.

1219:("quick change technique"). When a character's true nature is suddenly revealed, the devices of 522: 331:

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

296:, began performing with a troupe of young female dancers a new, simple style of dance drama in 3974: 3938: 3808: 3779: 3708: 3681: 3562: 3556: 3535: 3529: 3481: 3477: 2950: 2946: 2938: 2914: 2889: 2860: 2850: 2605: 2531: 2412: 2220: 2084: 1779: 825: 821: 703: 655: 609: 3465: 3348:[Kinoshita Group presents 'New Final Fantasy X Kabuki'] (in Japanese). Archived from 1777:

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.

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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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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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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

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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

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Oniji Ōtani III (Nakazō Nakamura II) as Edobee in the May 1794 production of

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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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Rising from the Flames: The Rebirth of Theater in Occupied Japan, 1945–1952

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Nearly every full-length play occupies five acts. The first corresponds to

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UNESCO Representative List of the Intangible Cultural Heritage of Humanity

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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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Although the earliest kabuki costumes have not been preserved, separate

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Traditional striped black-red-green curtain, at the Misono-za in Nagoya

745: 668: 631: 616: 507: 494: 487: 376: 348: 245: 119: 3889: 486:

Kabuki actors Bando Zenji and Sawamura Yodogoro; 1794, fifth month by

344:—typically used a performance as a way to feature the fashion trends. 3182: 3180: 3178: 2489: 2475:, a light novel, manga, and anime series about a boy who loves kabuki 2191: 1543: 1305: 1199: 778: 372: 141: 3895:

Kabuki. Ed. Shoriya Aragoro. 9 September 1999. 25 November 2007 <

3130: 3043: 3041: 3039: 2970: 1169:(visual tricks) in kabuki today; major kabuki theaters, such as the 890:

While still maintaining most of the historical practices of kabuki,

461:

roles for a short period of time; both bans were rescinded by 1652.

3639:

Miyake, Shutarō (1971). "Kabuki Drama". Tokyo: Japan Travel Bureau.

2983: 1860:, led by Oishi Kuranosuke, who exact revenge on their enemy before 578:

In the mid-18th century, kabuki fell out of favor for a time, with

3196: 2819: 2160: 2148: 2121: 2095: 2083: 2020: 1730: 1513: 1143: 1128: 980: 807: 783: 723: 707: 603: 481: 468: 305: 260: 201: 157: 134: 4086:"Kabuki Performance and Expression in Japanese Prints" exhibition 3992: 3531:

A Kabuki Reader: History and Performance: History and Performance

3108: 4022:

photograph of Kabuki-za in Kyobashi-ku, Kobiki-cho, Tokyo (1900)

3935:

Male Colors: The Construction of Homosexuality in Tokugawa Japan

2913:. Tokyo, New York, London: Kodansha International. p. 232. 1941: 1546:

and peasants. Often referred to as "domestic plays" in English,

1363:

base, though some styles of wig require yak hair or horse hair.

1336: 287: 3528:

Pronko, Leonard C. (12 February 2015). Samuel L. Leiter (ed.).

3219:"UNESCO Culture Sector – Intangible Heritage – 2003 Convention" 3086: 1279:

kabuki costumes today are made based on written records called

318:. For this reason, kabuki was also known as 'prostitute kabuki' 3163:

Negishi, K, and M Tomoeda. "ANU Za Kabuki." Monsoon, 2010, 26.

2795:"Successful Period | History of Kabuki | INVITATION TO KABUKI" 2388: 1954: 1815: 1370: 860: 60: 223:, meaning 'to lean' or 'to be out of the ordinary', the word 4127:

Masterpieces of the Oral and Intangible Heritage of Humanity

4097:

Museum of Art and Archaeology at the University of Missouri

4011: 3896: 3349: 2911:

The Stars Who Created Kabuki; Their Lives, Loves and Legacy

691:(seven-and-five syllable meter) dialogue and music such as 3981:. Tokyo: Japan Publishing Industry Foundation for Culture. 1798:

and kabuki is a difference in storytelling focus; whereas

557:

Also during the Genroku period was the development of the

710:

to kabuki, and introduced twists on traditional stories.

3076:, 28 December 2010, p. 3, retrieved on 29 December 2010. 1712:

and Noh theatre. Chief amongst these was the concept of

786:

that became known as the "Age of Senjaku" in his honor.

634:, a northern suburb of Edo. This was part of the larger 3581:

Quinn, Shelley Fenno. "How to write a Noh play—Zeami's

2478: 3172:

Sign (in English) for Izumo no Okuni's statue in Kyoto

2846:

Redacted: the archives of censorship in transwar Japan

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Japanese Theatre in Highlight: A Pictorial Commentary

3558:

Historical Dictionary of Japanese Traditional Theatre

3412:

Ukon Ichikawa as Genkurō Kitsune flying over audience

3153:

https://sites.google.com/site/zakabuki2010/who-we-are

2820:

Kabuki Chronology of the 19th century at Kabuki21.com

2604:. New York: Oxford University Press. pp. 45–46. 2487: 1044:, and several innovations including revolving stage, 831:

Some local kabuki troupes today use female actors in

504:, an elaborate form of puppet theater later known as 311:

born as ensemble dance and drama performed by women.

3320:

Electronic Journal of Contemporary Japanese Studies

2441:, a Japanese magazine on kabuki that ran 1879–1897. 962:

Kinoshita Group presents New Kabuki Final Fantasy X

3856: 3843: 2714: 2712: 2710: 1536:, which generally focused upon the samurai class, 1349:Another special feature of kabuki costumes is the 125:Kabuki is thought to have originated in the early 3883:Japanese Culture - Entertainment - Kabuki Theater 2530:. New York: Oxford University Press. p. 46. 3421:in the July 2005 National Theatre production of 994:The kabuki stage features a projection called a 702:In 1868, the Tokugawa ceased to exist, with the 2311: 2288: 2260: 2051: 2025: 1713: 1643: 1626: 1611: 1464: 1447: 1430: 1197: 1022: 995: 914: 273:The history of kabuki began in 1603 during the 228: 4047:Kabuki prints by Utagawa Kuniyoshi (1798–1861) 2320: 2297: 2267: 2180: 2168: 2060: 2032: 1722: 1652: 1635: 1618: 1473: 1456: 1439: 1329:base for the characteristic stage makeup, and 1206: 1031: 1004: 923: 906: 896: 813: 720:Censorship in Japan § Occupation of Japan 321: 237: 187: 177: 167: 96: 2672: 2670: 2668: 2666: 2664: 2662: 2660: 2658: 1429:The three main categories of kabuki play are 569:, alongside the development of the mask-like 382:Kabuki switched to adult male actors, called 300:, on a makeshift stage in the dry bed of the 8: 3995:—Shochiku Official Kabuki Website in English 3914:"History of Kabuki: Birth of Saruwaka-machi" 3459: 3457: 3033:. Rowman & Littlefield, 2009. pp. 75–85. 2932: 2930: 2849:. Berkeley: University of California Press. 1461:, "domestic" or post-Sengoku period stories) 575:makeup worn by kabuki actors in some plays. 4061:Audio recording of the kabuki play Narukami 3784:: CS1 maint: numeric names: authors list ( 2765:". Kabuki Jiten. Retrieved 9 February 2007. 1989:. Unsourced material may be challenged and 1444:, historical or pre-Sengoku period stories) 445:were often presented in an erotic context. 4073:, (audio only; with Faubion Bowers et al.) 3834:, Paul Griffith and Akihiko Senda (2004). 2773: 2771: 2563: 2561: 565:style of posing, credited to kabuki actor 140:In 2005, kabuki theatre was proclaimed by 3869:The Changing Room: Sex, Drag, and Theatre 3675: 3635: 3633: 3593:, vol 48, issue 1 (Spring 1993). pp53–88. 3131:"Kabuki Tours in North And South America" 2009:Learn how and when to remove this message 1854:) is the famous story of the forty-seven 1610:Important elements of kabuki include the 1542:focused primarily upon commoners, namely 1417:Learn how and when to remove this message 880:UNESCO Intangible Cultural Heritage Lists 3601: 3599: 3470:Oxford Research Encyclopedia of Classics 3395: 3393: 2593: 2591: 2589: 2587: 2585: 2583: 2581: 2391:, a traditional form of Japanese theatre 2240: 1930:) is based on the life of famed scholar 1756: 77: 42: 3881:Japanese Culture. 25 November 2007 < 3874:Facts JPN-kabuki. 25 November 2007 < 3863:. London: George Allen & Unwin Ltd. 3508:"Kabuki « MIT Global Shakespeares" 3478:10.1093/acrefore/9780199381135.013.7006 3371:Komatsu, Mikikazu (13 September 2022). 2831: 2516: 2404:Famous kabuki actor lineages, such as: 1887:as he flees from agents of his brother 950:announced a Super Kabuki adaptation of 206:characters which do not reflect actual 3777: 2676: 2237:Influence of kabuki on other art forms 4071:1969 'Camera Three' program on Kabuki 3555:Leiter, Samuel L. (16 January 2006). 3399: 3346:"木下グループ presents『新作歌舞伎ファイナルファンタジーX』" 2742: 2730: 2718: 554:(plays about love suicides) in 1723. 7: 4081:University of Michigan Museum of Art 4008:—The English language Earphone Guide 3907:. Westport: Greenwood P. p. 83. 3850:. New York: Oxford University Press. 2784:. London: MacMillan and Co. pp21–22. 2649: 2567:"Kabuki" in Frederic, Louis (2002). 1987:adding citations to reliable sources 1686:Play structure and performance style 1642:) is sometimes heard in loud shout ( 1399:adding citations to reliable sources 1114:refers to trap(s) moving upward and 1056:have all contributed to kabuki. The 217:is believed to derive from the verb 3916:. Watanabe Norihiko. Archived from 3828:. USA and Japan: Charles E. Tuttle, 3760:"G06 The First Theatrical Magazine" 3186:Lonely Planet Kyoto, 2012, page 169 2971:Contemporary Actors at Kabuki21.com 1238:An additional outer curtain called 673:, or dancing, in dramas written by 107:, mixing dramatic performance with 3964:Kabuki: Baroque Fusion of the Arts 3937:. University of California Press. 3289:"Artist Interview: Yuichiro Kanai" 3263:"ワンピース・NARUTO・初音ミク現代の歌舞伎は「超歌舞伎」へ" 2782:Kabuki: The Popular Stage of Japan 2601:Japan and the Shackles of the Past 2527:Japan and the Shackles of the Past 1895:generals supposedly killed in the 615:In the 1840s, repeated periods of 427:" took over previously female- or 25: 3805:Kabuki's Forgotten War: 1931–1945 3464:Macintosh, Fiona (30 July 2015), 3068:Kabuki going strong, 400 years on 3049:Kabuki going strong, 400 years on 2694:Yale-New Haven Teachers Institute 1761:The September 1824 production of 1562:plays, adapted from works by the 82:Onoe Kikugorō VI as Umeō-maru in 3838:. Japan: Kodansha International. 3561:. Scarecrow Press. p. 115. 3314:Ohsawa, Yuki (30 January 2024). 2986:. Kabuki21.com. 31 December 2013 2338: 1959: 1375: 964:and part of celebrations of the 802:Kabuki also appears in works of 728:The November 1895 production of 465:1673–1841: Genroku period kabuki 3764:The Most Curiosity Kabuki World 3658:Reichert, James R. (May 2017). 2973:. (Retrieved 18 December 2006.) 1792:One crucial difference between 1386:needs additional citations for 269:, the founder of kabuki (1600s) 3807:. University of Hawaii Press. 2881:The Allied Occupation of Japan 1928:and the Secrets of Calligraphy 1074:provide a vertical dimension. 869:Australian National University 536:), was originally written for 27:Classical Japanese dance-drama 1: 3888:Kabuki. 25 November 2007 < 3836:A Guide to the Japanese Stage 3293:Performing Arts Network Japan 2822:(Retrieved 18 December 2006.) 1917:Sugawara Denju Tenarai Kagami 1881:and the Thousand Cherry Trees 1518:The March 1849 production of 760:Post-war to modern day kabuki 85:Sugawara Denju Tenarai Kagami 3664:The Journal of Asian Studies 2571:. Cambridge, Massachusetts: 1321:is used to create the white 878:Kabuki was inscribed on the 828:Prefecture, is one example. 677:, who also wrote during the 47:The July 1858 production of 4077:Collection: "Kabuki Images" 3859:The Kabuki Theatre of Japan 3472:, Oxford University Press, 3029:. In: Leiter, Samuel (ed). 2943:Kabuki: The Popular Theater 2497: 2488: 2479: 2469: 2435: 2395: 2379: 2369: 2359: 2312: 2306: 2289: 2280: 2261: 2252: 2069: 2052: 2026: 1936: 1923: 1915: 1901: 1876: 1868: 1856: 1852:Treasury of Loyal Retainers 1844: 1835: 1820: 1806: 1800: 1794: 1785: 1773: 1767:at Kado-za theatre in Osaka 1763: 1750: 1744: 1738: 1714: 1708: 1699: 1693: 1673: 1665: 1644: 1627: 1612: 1601: 1593: 1585: 1578: 1570: 1564: 1554: 1548: 1538: 1532: 1520: 1498: 1484: 1465: 1448: 1431: 1351: 1341: 1331: 1323: 1304: 1296: 1290: 1281: 1273: 1267: 1247: 1240: 1227: 1221: 1215: 1198: 1192: 1183: 1165: 1153: 1135: 1122: 1116: 1110: 1104: 1098: 1090: 1084: 1078: 1070: 1064: 1058: 1052: 1046: 1040: 1023: 1013: 996: 986: 915: 851: 833: 791: 730: 693: 687: 667: 622: 596: 586: 580: 571: 559: 550: 544: 538: 532: 521: 506: 500: 475: 457: 451: 441: 435: 429: 421: 419:" (lit., "woman role") or " 413: 407: 398: 384: 353: 286: 229: 219: 200: 113: 84: 49: 4148: 3803:Brandon, James R. (2009). 3534:. Routledge. p. 248. 1526:at Edo Nakamura-za theater 717: 704:restoration of the Emperor 608:Kabuki Scene (Diptych) by 129:, when the art's founder, 29: 3960:Kawatake, Toshio (2006). 3677:10.1017/S0021911817000031 3241:"市川猿翁 2 | 歌舞伎俳優名鑑現在の俳優篇" 3057:, 28 December 2010, p. 3, 2909:Kominz, Laurence (1997). 2843:Abel, Jonathan E (2012). 2552:"UNESCO – Kabuki theatre" 2321: 2298: 2268: 2181: 2169: 2061: 2033: 1723: 1653: 1636: 1619: 1474: 1457: 1440: 1207: 1032: 1005: 958:Tokyo Broadcasting System 924: 907: 897: 814: 476:Koi Nyōbo Somewake Tazuna 396:1629–1673: Transition to 322: 265:The earliest portrait of 238: 188: 178: 168: 97: 4122:Japanese art terminology 4004:21 November 2021 at the 3423:Yoshitsune Senbon Zakura 3109:"Kabuki Tours in Europe" 2939:"Zenshin-za Innovations" 2598:Murphy, Taggart (2014). 2573:Harvard University Press 2524:Murphy, Taggart (2014). 1870:Yoshitsune Senbon Zakura 1181:, are all equipped with 1137:Yoshitsune Senbon Zakura 804:Japanese popular culture 714:Post-Meiji period kabuki 257:1603–1629: Female kabuki 3973:Matsui, Kesako (2016). 3968:. Tokyo: I-House Press. 3933:Leupp, Gary P. (1997). 3912:Masato, Takaba (2007). 3903:Haar, Francils (1971). 3758:8P (21 December 2015). 3417:10 January 2010 at the 2878:Takemae, Eiji (2002) . 2761:6 February 2012 at the 2630:Encyclopedia Britannica 2626:"Okuni | Kabuki dancer" 1062:creates depth and both 103:is a classical form of 36:Kabuki (disambiguation) 3826:Kabuki: A Pocket Guide 3087:"Kabuki Tours in Asia" 2937:Toita, Yasuji (1970). 2253:Nansō Satomi Hakkenden 2246: 2105: 2093: 2044: 2043:in Nagoya (March 2013) 1885:Minamoto no Yoshitsune 1768: 1527: 1149: 1141: 991: 764:The ensuing period of 741: 612: 515:The famous playwright 490: 479: 270: 160:that make up the word 88: 75: 34:. For other uses, see 4091:15 April 2021 at the 4018:National Diet Library 3867:Senelick, L. (2000). 3855:Scott, A. C. (1955). 2244: 2099: 2087: 2024: 1932:Sugawara no Michizane 1846:Kanadehon Chūshingura 1814:Kabuki traditions in 1760: 1517: 1500:Kanadehon Chūshingura 1147: 1132: 984: 727: 647:Nakamura-za in 1624. 607: 485: 472: 264: 164:can be read as 'sing' 81: 46: 3871:. London: Routledge. 2065:, "name succession") 1983:improve this section 1764:Heike Nyogo-ga-shima 1395:improve this article 1339:. The colour of the 939:starting from 2014. 529:The Love Suicides at 517:Chikamatsu Monzaemon 328:during this period. 72:Utagawa Toyokuni III 3738:www.japan-guide.com 3713:factsanddetails.com 3590:Monumenta Nipponica 3352:on 18 November 2022 2463:Troma Entertainment 2461:and distributed by 2446:Sgt. Kabukiman NYPD 2272:, "village kabuki") 956:collaborating with 57:Ichimura-za theater 4117:History of theatre 4065:Ichikawa Danjūrō I 3920:on 20 January 2013 3846:The Kabuki Theatre 3842:Ernst, E. (1956). 3442:on 8 December 2015 2969:Shōriya, Asagoro. 2818:Shōriya, Asagoro. 2799:www2.ntj.jac.go.jp 2569:Japan Encyclopedia 2423:Nakamura Kanzaburō 2247: 2106: 2094: 2045: 1862:committing suicide 1769: 1528: 1492:of the 1180s, the 1357:traditional manner 1150: 1142: 992: 960:in 2022. Entitled 797:Bandō Tamasaburō V 742: 613: 567:Ichikawa Danjūrō I 491: 480: 337:red-light district 271: 89: 76: 3814:978-0-8248-3200-1 3487:978-0-19-938113-5 3466:"dance reception" 3295:. 14 October 2008 2984:"Kabuki Theaters" 2856:978-0-520-27334-4 2688:Flynn, Patricia. 2449:, a 1991 comedic 2418:Matsumoto Kōshirō 2302:, puppet theatre) 2177:Osaka Shōchiku-za 2019: 2018: 2011: 1780:Tale of the Heike 1671:. This is called 1478:, "dance pieces") 1427: 1426: 1419: 820:troupe, based in 656:Utagawa Hiroshige 335:, the registered 109:traditional dance 16:(Redirected from 4139: 4132:Theatre of Japan 4067:at LostPlays.com 4042:Kakuki-za (1915) 4038:Kabuki-za (1912) 4034:Kabuki-za (1911) 4030:Kakuki-za (1909) 4026:Kakuki-za (1901) 3982: 3969: 3948: 3929: 3927: 3925: 3908: 3876:facts JPN-kabuki 3864: 3862: 3851: 3849: 3818: 3790: 3789: 3783: 3775: 3773: 3771: 3755: 3749: 3748: 3746: 3744: 3730: 3724: 3723: 3721: 3719: 3704: 3698: 3697: 3679: 3655: 3649: 3646: 3640: 3637: 3628: 3625:Japanese Studies 3621: 3615: 3612: 3606: 3603: 3594: 3579: 3573: 3572: 3552: 3546: 3545: 3525: 3519: 3518: 3516: 3514: 3504: 3498: 3497: 3496: 3494: 3461: 3452: 3451: 3449: 3447: 3438:. Archived from 3432: 3426: 3409: 3403: 3402:, pp. 55–56 3397: 3388: 3387: 3385: 3383: 3368: 3362: 3361: 3359: 3357: 3342: 3336: 3335: 3333: 3331: 3311: 3305: 3304: 3302: 3300: 3285: 3279: 3278: 3276: 3274: 3259: 3253: 3252: 3250: 3248: 3237: 3231: 3230: 3228: 3226: 3215: 3209: 3208: 3206: 3204: 3193: 3187: 3184: 3173: 3170: 3164: 3161: 3155: 3149: 3143: 3142: 3140: 3138: 3127: 3121: 3120: 3118: 3116: 3105: 3099: 3098: 3096: 3094: 3083: 3077: 3064: 3058: 3045: 3034: 3025:Edelson, Loren. 3023: 3017: 3016: 3014: 3012: 3002: 2996: 2995: 2993: 2991: 2980: 2974: 2967: 2961: 2960: 2934: 2925: 2924: 2906: 2900: 2899: 2875: 2869: 2868: 2840: 2834: 2829: 2823: 2816: 2810: 2809: 2807: 2805: 2791: 2785: 2775: 2766: 2752: 2746: 2740: 2734: 2733:, pp. 91–92 2728: 2722: 2721:, pp. 10–12 2716: 2705: 2704: 2702: 2700: 2685: 2679: 2674: 2653: 2647: 2641: 2640: 2638: 2636: 2622: 2616: 2615: 2595: 2576: 2565: 2556: 2555: 2548: 2542: 2541: 2521: 2502: 2493: 2484: 2474: 2440: 2428:Kataoka Nizaemon 2408:Ichikawa Danjūrō 2400: 2384: 2374: 2364: 2354:Theatre of Japan 2348: 2343: 2342: 2341: 2326: 2325:, "Kabuki news") 2324: 2323: 2317: 2309: 2303: 2301: 2300: 2294: 2283: 2273: 2271: 2270: 2264: 2255: 2186: 2184: 2183: 2174: 2172: 2171: 2142:National Theater 2137:Shinbashi Enbujō 2072: 2066: 2064: 2063: 2057: 2038: 2036: 2035: 2029: 2014: 2007: 2003: 2000: 1994: 1963: 1955: 1945: 1926: 1920: 1906: 1879: 1873: 1859: 1849: 1838: 1823: 1809: 1803: 1797: 1788: 1776: 1766: 1753: 1747: 1741: 1728: 1726: 1725: 1719: 1711: 1702: 1696: 1676: 1670: 1658: 1656: 1655: 1649: 1641: 1639: 1638: 1632: 1624: 1622: 1621: 1615: 1606: 1598: 1590: 1581: 1573: 1567: 1557: 1551: 1541: 1535: 1525: 1503: 1487: 1479: 1477: 1476: 1470: 1462: 1460: 1459: 1453: 1445: 1443: 1442: 1436: 1422: 1415: 1411: 1408: 1402: 1379: 1371: 1354: 1344: 1334: 1328: 1309: 1301: 1293: 1286: 1278: 1270: 1252: 1243: 1230: 1224: 1218: 1212: 1210: 1209: 1203: 1195: 1186: 1171:National Theatre 1168: 1156: 1140: 1125: 1119: 1113: 1107: 1101: 1093: 1087: 1081: 1073: 1067: 1061: 1055: 1049: 1043: 1037: 1035: 1034: 1028: 1016: 1010: 1009:, "flower path") 1008: 1007: 1001: 989: 929: 927: 926: 920: 912: 910: 909: 902: 900: 899: 854: 836: 819: 817: 816: 794: 735: 698: 690: 683:Kawatake Mokuami 675:Kawatake Mokuami 672: 664: 625: 599: 589: 583: 574: 564: 553: 547: 541: 535: 526: 511: 503: 478: 460: 454: 444: 438: 432: 426: 418: 410: 401: 387: 358: 327: 325: 324: 291: 243: 241: 240: 234: 222: 205: 193: 191: 190: 183: 181: 180: 173: 171: 170: 118: 105:Japanese theatre 102: 100: 99: 87: 54: 21: 4147: 4146: 4142: 4141: 4140: 4138: 4137: 4136: 4102: 4101: 4093:Wayback Machine 4056:Kabuki Coin Set 4006:Wayback Machine 3989: 3972: 3959: 3956: 3954:Further reading 3951: 3945: 3932: 3923: 3921: 3911: 3902: 3854: 3841: 3815: 3802: 3798: 3793: 3776: 3769: 3767: 3757: 3756: 3752: 3742: 3740: 3732: 3731: 3727: 3717: 3715: 3707:Hays, Jeffrey. 3706: 3705: 3701: 3657: 3656: 3652: 3647: 3643: 3638: 3631: 3622: 3618: 3613: 3609: 3604: 3597: 3580: 3576: 3569: 3554: 3553: 3549: 3542: 3527: 3526: 3522: 3512: 3510: 3506: 3505: 3501: 3492: 3490: 3488: 3463: 3462: 3455: 3445: 3443: 3434: 3433: 3429: 3419:Wayback Machine 3410: 3406: 3398: 3391: 3381: 3379: 3370: 3369: 3365: 3355: 3353: 3344: 3343: 3339: 3329: 3327: 3313: 3312: 3308: 3298: 3296: 3287: 3286: 3282: 3272: 3270: 3261: 3260: 3256: 3246: 3244: 3239: 3238: 3234: 3224: 3222: 3217: 3216: 3212: 3202: 3200: 3195: 3194: 3190: 3185: 3176: 3171: 3167: 3162: 3158: 3150: 3146: 3136: 3134: 3129: 3128: 3124: 3114: 3112: 3107: 3106: 3102: 3092: 3090: 3085: 3084: 3080: 3066:Martin, Alex, " 3065: 3061: 3047:Martin, Alex, " 3046: 3037: 3024: 3020: 3010: 3008: 3006:"Ōshika Kabuki" 3004: 3003: 2999: 2989: 2987: 2982: 2981: 2977: 2968: 2964: 2957: 2936: 2935: 2928: 2921: 2908: 2907: 2903: 2896: 2877: 2876: 2872: 2857: 2842: 2841: 2837: 2830: 2826: 2817: 2813: 2803: 2801: 2793: 2792: 2788: 2776: 2769: 2763:Wayback Machine 2753: 2749: 2741: 2737: 2729: 2725: 2717: 2708: 2698: 2696: 2687: 2686: 2682: 2675: 2656: 2648: 2644: 2634: 2632: 2624: 2623: 2619: 2612: 2597: 2596: 2579: 2566: 2559: 2550: 2549: 2545: 2538: 2523: 2522: 2518: 2514: 2344: 2339: 2337: 2334: 2318: 2295: 2276:Gifu Prefecture 2265: 2239: 2178: 2166: 2082: 2058: 2030: 2015: 2004: 1998: 1995: 1980: 1964: 1953: 1831: 1720: 1688: 1650: 1633: 1616: 1471: 1454: 1437: 1423: 1412: 1406: 1403: 1392: 1380: 1369: 1259: 1204: 1187:installations. 1029: 1002: 979: 974: 953:Final Fantasy X 921: 904: 894: 888: 855:(2004). Writer 811: 775:Tetsuji Takechi 762: 722: 716: 662: 602: 523:Sonezaki Shinjū 467: 403: 319: 259: 254: 235: 213:Since the word 185: 175: 165: 156:The individual 154: 94: 68:woodblock print 39: 28: 23: 22: 15: 12: 11: 5: 4145: 4143: 4135: 4134: 4129: 4124: 4119: 4114: 4104: 4103: 4100: 4099: 4083: 4074: 4068: 4058: 4049: 4044: 4015: 4009: 3999:Earphone Guide 3996: 3988: 3987:External links 3985: 3984: 3983: 3970: 3955: 3952: 3950: 3949: 3943: 3930: 3909: 3900: 3893: 3886: 3879: 3872: 3865: 3852: 3839: 3829: 3819: 3813: 3799: 3797: 3794: 3792: 3791: 3750: 3725: 3699: 3670:(2): 311–332. 3650: 3641: 3629: 3616: 3607: 3595: 3574: 3567: 3547: 3540: 3520: 3499: 3486: 3453: 3427: 3404: 3389: 3363: 3337: 3306: 3280: 3254: 3232: 3210: 3199:. Kabuki21.com 3188: 3174: 3165: 3156: 3144: 3133:. Kabuki21.com 3122: 3111:. Kabuki21.com 3100: 3089:. 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Retrieved 2629: 2620: 2600: 2568: 2546: 2526: 2519: 2459:Michael Herz 2453:directed by 2444: 2346:Japan portal 2286: 2262:Noson kabuki 2258: 2248: 2100:Interior of 2088:Exterior of 2075: 2050: 2046: 2005: 1996: 1981:Please help 1969: 1927: 1880: 1851: 1832: 1829:Famous plays 1813: 1791: 1778: 1770: 1735: 1705: 1689: 1680: 1661: 1609: 1576: 1560:love suicide 1529: 1507: 1482: 1428: 1413: 1404: 1393:Please help 1388:verification 1385: 1348: 1312: 1264: 1260: 1237: 1233: 1189: 1158: 1151: 1096: 1079:Mawari-butai 1076: 1019: 993: 977:Stage design 965: 961: 951: 945: 941: 936: 932: 889: 886:Super Kabuki 877: 873: 839: 830: 801: 788: 770:World War II 763: 754:World War II 751: 743: 701: 688:shichigo-cho 660: 652:Claude Monet 649: 645: 641: 628: 614: 597:Saruwaka-chō 577: 556: 542:. 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