Introduction to “Kabuki” Seijo Univ.

Hideo Imai

Contents:

1. Prior knowledge of Kabuki

2. Current Kabuki e.g.) How they act? What is unique?

3. Did Kabuki mimic Noh?

1. Prior knowledge of Kabuki

Kabuki started from ♪DANCE♪Kabuki started from 1603

　

『かぶき者』 =2 meanings

1. “strange things” “the crazy ones” “outlaw” 2. 「かぶき」＝傾く (lean) Dancer ( 歌舞伎踊り）歌舞伎踊り『阿国歌舞伎図屏風』 (Kabuki-

dance)

かぶ

歌舞伎踊り女歌舞伎

Banned

（１６２９）

か　ぶ　き　おどり おんな　か　ぶ　き

How does “Kabuki” born?

女歌舞伎（ Women-kabuki)

男歌舞伎•やろう歌舞伎(Men-Kabuki)

1603~1

629

若衆歌舞伎（ Youngman- Kabuki )

1629~1

652

1563~1

673

400 y/o

2014 ～

2. Current Kabuki

1. 立役 (Tachi-yaku)Tachi-yaku represents hero who saves woman’s life. They are usually young and good-looking men. They are not evil and old.

Kabuki Characters (1)

Kabuki Characters (2)

2. 女方 (Onna-gata)Male acts for female character with lady’s voice, behavior and emotions.

Kabuki Characters (3)

3. お嬢吉三 (Ojou-kissa)

woman man (thief)

[The picture was taken from 『三人吉三廓初買』 ]

Change

“COLORS” in Kabuki

In Kabuki, face colors are very important to understand their characteristics.

COLOR

SkinFace Paint

WHITE

RED

Skin•Young•Good man•Handsome guy ( いけめん )•Noble (e.g. King, くげ）

•Bad man or•Energetic (e.g. 金太郎）

White-Blue

Brown

Skin

•Good man Bad man (disguise)

•Lower class•Old man•EvilNot famous actors※

民谷伊右衛門 四谷怪談

Face Paint

(Hero)

(Villain)

(Demon/Monster)

3. Did Kabuki mimic Noh?

Three evidences

①Noh started before Kabuki.

女歌舞伎（ Women-KABUKI)

男歌舞伎•やろう歌舞伎(Men-KABUKI)

1603~1

629

若衆歌舞伎（ Youngman-KABUKI )

1629~1

652

1563~1

673

Noh

1375~

KABUKI (1603~) < NOH (1375~)

②Noh and Kabuki are DANCE.< 能（ Noh)>Noh represents DANCE. 　　 e.g.) 「能の舞（まい）」 踊り（＝ Dance ）< 歌舞伎 (Kabuki)> 「かぶき者」 = 「傾く（ lean) 」 Dance

かぶ

sa

me

③Kabuki & Noh theatre.

<Kabuki>

Stage

はなみちSeatsSea

t

<Noh>

Stage

はしがかり

Seats

Seats

resemble

Conclusion:•Presumably, Kabuki immerged from Noh.However, both play have different way to attract people.

•Both Kabuki and Noh still exist as Japanese traditional performance act. Thus, it must be necessary to inherit or protect these wonderful culture for the future generations.

References: 『歌舞伎の世界』 , 1989, 藤波隆之 ( 講談社）『歌舞伎にアクセス』 , 2002, 伊達なつめ『歌舞伎への誘い』〜歌舞伎の歴史〜http://www2.ntj.jac.go.jp/unesco/kabuki/jp/2/index.html

Interviewee:Mr.Yonekichi-Nakamura, 中村米吉 (2014)