KABUKI THEATER OF JAPAN.   Term Paper ID:18269 Click to get this paper

Essay Subject: Discusses body language, the virtuosity of the actor, acting techniques & Japanese concepts of space.... More...

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Paper Abstract: Discusses body language, the virtuosity of the actor, acting techniques & Japanese concepts of space. Paper Introduction: This paper will be concerned with the Kabuki theater of Japan. It will discuss the virtuosity and techniques of the Kabuki actor, as well as the use of body language as it pertains to Japanese concepts of space. The origins of the Kabuki in Japan can be traced to the city of Kyoto in the early 17th century, A.D. Although the Kabuki is performed exclusively by men today, it was originally founded by a woman named Izumo no Okuni. Okuni led a group of women, most of whom were prostitutes, in the performance of narrative dances for the public. In this way, dance was used not just for its own sake but for the purpose of telling a story to the audience. Specifically, the gestures and body language of the dancers were used to tell the story while at the same time expressing the emotions of the characters. This was an important innovation in Text of the Paper: The entire text of the paper is shown below. However, the text is somewhat scrambled. We want to give you as much information as we possibly can about our papers and essays, but we cannot give them away for free. In the text below you will find that while disordered, many of the phrases are essentially intact. From this text you will be able to get a solid sense of the writing style, the concepts addressed, and the sources used in the research paper. As a result, Kabuki acting frequently involvesleaps into the air and other manipulations of the head, arms, and legs inwhich "the Kabuki actor utilizes a vertical line extending from the floorto as high as he can reach in a sphere of expressive movement" (176). In addition to expressing the changing emotionsof the characters in the plays, the stylized gestures and movements of theKabuki actor reflect the traditional values of the Japanese people as awhole. In this regard, ithas been noted that the Kabuki's "long and physically draining performancesinvolve chases, dancing, and acrobatics" (Arnott 2 6). The mie has been described as "a method the actor employs todramatize and accentuate his action by freezing his posture" (Courdy 93).When the actor freezes in a mie, the music accompanies him with a sustainedpercussive sound. In this regard, "when bothmen and women are seated on the stage, the men are always positioned on theright" (27). The style of acting used in the Kabuki alsofollows this vertical line. The government of the time was not able to arrive at a good rationalefor banning this form of entertainment, and therefore it has been able tosurvive to the present day. One use of body language in the Kabuki theater can be seen in themie, a stylized posture which often occurs during an exciting moment in theplay. An example of the way in which a Kabuki family name is passed on fromone generation to the next can be seen in the acclaimed modern actorEnnosuke III. Body language also became an integral part of Kabuki as a result ofthe influence of dance. In addition, it can be seen that various elements of Kabuki actingpertain to the Japanese concept of space. One of the most important aspects of Kabuki acting can be found inthe virtuosity of the actor. Another interesting aspect of the Kabuki theater is the way in whichbody language is utilized in Kabuki acting techniques. Oneof the most notable features of Kabuki acting is the fact that it requiresa great deal of both physical strength and virtuosity. In addition to being calledupon to play different roles in different performances, it has been notedthat "there are occasions when, during the course of a single play or act,the actor may perform two or more roles" (Ernst 2 1). The Kabuki Theatre. Despite the persecution of the Japanese authorities,however, yet another form of the Kabuki theater was established in the165 s. Thus, "all movements on the Kabuki stage and allgroupings of characters are determined by the principle of providing forthe complete physical expressiveness of the actor" (Ernst 175). In the early 2 th century, theson of the first Ennosuke attained a level of virtuosity which permittedhim to assume the title of Ennosuke II. Because Kabuki is primarily adance form, it makes use of the actor's body as a tool for expressing suchcultural values. In addition, the family name is important because itreflects both the skill and status of the actor bearing it. It can also be seen that the way in which the Kabuki actor uses bodylanguage reflects the manners of the Japanese people in general. The early actors on the Kabuki stage also developed twobasic styles of acting known as wagoto ("soft style") and aragoto ("roughstyle"). From this, it can be seen thatEnnosuke II was the grandfather, rather than the father, of Ennosuke III.The reason for this gap is that "the present Ennosuke's father, although adistinguished actor, was sickly throughout his career and was never able toattain a level of distinction that merited the Ennosuke name (Grilli 34).Nevertheless, Ennosuke III was able to attain a level of ability whichearned him the right to bear the prestigious family name. The use of dance and other body movements play animportant role in Japanese religious celebrations as well. Because of this correlation, the mostimportant characters in a Kabuki play always occupy the right side of thestage. "Ennosuke III and his 'Super Kabuki': Kabuki's Revolutionary Traditionalist." Dance Magazine Sep. This was an important innovation in the development ofboth dance and drama in Japan. The gestures of the dancing actor aredesigned to express the words of the musical narration. The Kabuki Guide. Theorigins of the Kabuki in Japan can be traced to the city of Kyoto in theearly 17th century, A.D. In this regard, a famous actor's name and ability may bepassed on "either to a direct blood descendant, to an adopted child, or, insome cases, to a chosen pupil (Gunji 49). For this reason, it can be said that the Kabuki theater isimportant not only as a source of entertainment, but also because iteffectively reflects the cultural values of its home nation. . The men who become Kabuki actors in Japan usually come from familieswho have long been connected to the theater. Although the Kabuki actor uses makeup and wigs inhis work, he does not resort to the use of masks. The acting of the Kabuki is primarily centeredaround the art of the dance. However, eachactor is nonetheless expected to exhibit a certain individualism in termsof performance style. In this regard, it has beennoted that "Japan is a small and crowded country; in its walled gardens ithas attempted to create a feeling of extensive space in a small area . The stark,colorful lines painted on the aragoto actor's face are "said to have beeninfluenced by the expressions on the faces of Buddhist statues as well asby the masks used in Noh drama" (39). It is interesting to notethat the names in Kabuki acting families are not necessarily passed on fromfather to son. From the mid-17thcentury on, the male actors performing in the Kabuki have generallyspecialized in playing either male roles or female roles. His ability is no more than a refinement of that shared by allJapanese, whose common etiquette includes a concern for handlingchopsticks, rice-bowls, and most of the objects of daily use in a highlyformalized and graceful fashion" (177). Works CitedArnott, Peter. In modern times, as aresult, both male and female roles in the Kabuki theater are performedstrictly by male actors. Thisexpressiveness includes the exaggerated use of facial makeup. .The same impulse is apparent in the ideal visual world of its theatre"(Ernst 175). On the basis of these examples, it is apparent that the Kabuki actoris a virtuoso in the use of dance gestures and body language. For example, if the actor changessomething about his wig or his clothing, the gesture is generally taken tomean that his character has undergone an important emotional change aswell. Although the Kabuki is performed exclusively bymen today, it was originally founded by a woman named Izumo no Okuni.Okuni led a group of women, most of whom were prostitutes, in theperformance of narrative dances for the public. In this way, dance wasused not just for its own sake but for the purpose of telling a story tothe audience. Boston: Little, Brown, 1981.Brockett, Oscar G. Women performers were never restoredto the Japanese theater, even in later years. The aragotostyle, on the other hand, is more expressive and outgoing. Today, EnnosukeIII is one of the most prominent of the Kabuki actors, and his styleclearly shows a concern for merging the traditions of the Japanese Kabukitheater with his own individualistic approach. Virtuallyeverything that the Kabuki actor does while he is on the stage is intendedto reflect his changing emotions. For a brief period in the middle of the 17th century, there was aform of Kabuki dance which was performed exclusively by young boys.However, this type of entertainment was also banned by the Japanesegovernment. Rather, these great Kabuki actors strive toward a unique style oftheir own which is based upon "a wide range of stylistic influences"(Grilli 34). Nevertheless, the erotic nature of thesedances, combined with the fact that they were performed by women (who aretraditionally subservient in Japanese society), led the governmentofficials of the time to institute a ban against them in the year 1629.This ban further stipulated that women were forbidden to perform on theJapanese stage altogether (Gunji 19). In thisregard, "each family has an elaborate system of stage names, some of themso honored that they are awarded (in elaborate public ceremonies) only tothose considered undisputed masters of their art" (Brockett 122). The stylized conventions of acting found in the traditionalKabuki theater are very important, even in modern times. Other distinctivefeatures of the Kabuki theater include the use of elaborate makeup, wigs,and costumes. Unlike the westernstage, which follows a horizontal line, the Kabuki stage is designed tofollow a vertical line. Prior to thedevelopment of Kabuki, Japanese drama as seen in the Noh theater reliedupon the use of masks in order to convey the emotional experiences of theactors to the audience. Dance andmusic have traditionally been important in the life and work of theJapanese. In fact, it hasbeen indicated that "almost all its movement borders on dance, distillingthe essence of real emotions and deeds into stylized postures, gestures,and movements" (Brockett 122). For this reason, the stage setting in Kabuki theater createsa central focus in which the acting must take place. Another way in which the treatment of Japanese women isreflected in the body language of Kabuki actors is seen in the fact thatactors playing female roles are never allowed to walk in front of actorswho are playing male roles on the stage (27). In this latest form of the Kabuki, all of the actors were adultmen. These two styles correspond more or less to the division of theactors into female and male roles. Each newname given to the actor is a sign of his increasing skill and virtuosity.It has been noted that "the names of Kabuki actors are traditionallychanged at significant points in their careers, almost like hierarchicalranks, and certain names are reserved for actors as they attain increasinglevels of excellence and acclaim (Grilli 34). The stories connected to the Kabuki theater provide rolesfor heroes, villains, clowns, animals, and ghosts, among others. Those who playmale roles are called tachiyaku, and those who play female roles are calledoyama (Gunji 48). New York: Holt, Rinehart & Winston, 1988.Courdy, Jean-Claude. The Essential Theatre. 1989: 3 -35.Gunji, Masakatsu. Following the establishment of the all-male Kabuki, the actors begandeveloping the specific techniques which still distinguish it today. A further example ofthe virtuosity of the Kabuki actor can be seen in that the greatest ofthese actors do not merely adapt the traditional techniques of theirtheater. . Itwill discuss the virtuosity and techniques of the Kabuki actor, as well asthe use of body language as it pertains to Japanese concepts of space. Despite this emphasis on vertical lines, the Japanese conception ofspace can also be seen in the way in which the Kabuki stage is dividedalong its horizontal axis. The name "Ennosuke" was first used in the late 19th centuryby the great grandfather of Ennosuke III. A greatKabuki actor will be called upon to perform many of these roles, sometimeseven switching between male and female roles. An actormay undergo various name changes in the course of his career. Thus, the "soft" or wagoto style hasbeen described as "foppish and slightly effeminate" (39). Although the actors often specialize in termsof playing either male or female roles, at the same time a single Kabukiactor may be called upon to play a variety of different roles in the courseof his career. Each acting family is associated with a particular styleand technique. This statement clearly shows the importance of bothvirtuosity and adaptability in the making of a great Kabuki actor. This paper will be concerned with the Kabuki theater of Japan. For example, "the pulling of a net from the sea, the planting ofrice, the felling of timber, the installation of a telephone pole--theseand other forms of group work are resolved into rhythmical movement andchanting" (Ernst 166). The Theater in Its Time. It may be noted, however, that the Kabuki actor in a miedoes not merely freeze in a steady position. he mie clearly shows one way in which theKabuki actor is able to utilize the gestures of body language for theexpression of an emotional state of being. A greatKabuki actor deserving of his name will always be a master of the variousacting techniques which are involved in the use of the body as a vehiclefor emotional expression. Thus, "as a result, the Kabuki actor has a doubleburden to bear: to continue the traditions of the past and, at the sametime, to give the fullest demonstration of his own capabilities as anartist" (Gunji 5 ). It may be noted that this factor reflects the sexist values whichare inherent in traditional Japanese society. Thus, it hasbeen stated that this manner of distorting the eyes and limbs is areflection of "the violent attitudes of Buddha's guardians as representedin statuary" (Arnott 2 7). It was decided that the all-boy Kabuki was dangerous tosociety on the grounds that it encouraged the practice of homosexuality(Arnott 2 5). In this regard, the right side of the stage(from the audience's perspective), like the right-hand seats in Japanesesocial settings, is considered "the place of honor reserved for guests orpersonages of high rank" (Gunji 27). Furthermore, ithas been noted that the Kabuki actor is an expert of "delicate and subtlemuscular control; this is an attribute shared by the Japanese people atlarge . Specifically, the gestures and body language of the dancerswere used to tell the story while at the same time expressing the emotionsof the characters. Honolulu: The U P of Hawaii, 1974.Grilli, Peter. In addition to their movements, the bodyposturing of the actors relates to the emotional expression of the materialwhich is being sung. . This is an interesting example,because it shows one way in which the Kabuki theater has reflected thetraditional values of the Japanese society as a whole. Tokyo: Kodansha International, 1987.----------------------- 1 The Japanese: Everyday Life in the Empire of the Rising Sun. These elements provide a standardized means for expressing aparticular character type or a particular emotion. The rejection of themask in the Kabuki theater was an important development because "itrepresented the birth of interest in the human form, the discovery of thebeauty and fascination of the human body" (Gunji 18). New York: Harper and Row, 1984.Ernst, Earle. Rather, "the action comes toa temporary halt as the actor assumes a fixed pose, making, as he does so,a rotating, nodding movement of the head and crossing one eye" (Gunji 46).As in the case of the use of makeup, this bizarre type of pose is meant toreflect the traditional standards of Japanese mythical art. As a result of this system,the family name of the Kabuki actor becomes an important part of hisoverall artistry. If this paper is not what you are looking for, you can search again: Search for: or Click here to request an essay written just for you.