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The neutral mask is a mask of calm. It is without expression and represents a being that has no past and no thought of the future. It exists only in the present. The mask is used to help the actor understand and develop a heightened sense of discovery, awareness of the space, a greater presence and a profound awareness of self. It is an extraordinary tool for actor training.
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Kumadori prints by Konobu Hasegawa (ca. 1867–1879) via Artelino’s auction archives
One of the most visually striking aspects for a newcomer to kabuki is the exaggerated make-up worn by the actors, especially those playing the most dramatic roles. It is particularly vivid when associated with a supernatural character. The name of this style of make-up, kumadori, is derived from kuma—lines, wrinkles, and toru—to take, to follow.
Source: brain-food
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The Tradition of Performing Arts in Japan Video
- 30 minutes prior to play, an announcement is made with flute and drums
- another announcement, 5 minutes prior to the performance, is intended to focus the company’s attention
- a form of theatre emphasizing dance and music
- value of transient nature of human life
- colorful makeup
- acrobatics
- lively makeup
- designed to appeal to the common person
- meant to arouse emotion
- ramp is meant to draw audience into the performance
- scarlet makeup = hero, indigo makeup = villain
- occasional, dramatic poses are emphasized by beating of the wood plates
- males specialize in female roles
- lunch can be enjoyed at one’s seat during intermission
- kabuki made political statements through absurd fairytales
- stage was impressively built with different manually operated mechanisms: actors able to pop out from stairs, from under the stage, etc.
- rich reflection of Japan and the Japanese people
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KABUKI: Traditional Theatrical Arts
I. Background
- Much of the development of Kabuki theatre took place during the Edo Era
- During the Edo Era, distinction between the warrior class and the commoners was more rigidly observed than at any other time in Japan’s history
- Kabuki was cultivated mainly by merchants at the time
- Merchants had become powerful economically but they had to remain socially inferior because they were “commoners” — they expressed their emotions under these conditions through Kabuki
- Fundamental themes of Kabuki plays: Conflicts between humanity and the feudalistic system
- Humanistic quality of Kabuki
- Kabuki spirit of unusualness
- No actresses in Kabuki —> female characters played by male impersonators known as onnagata
- In Kabuki’s primitive stages, most of the players of Kabuki were women… this attracted many male admirers. Thus in 1629, the theatrical appearance of women was banned as the authorities believed that this would lead to a serious demoralization of the public. Ban was in effect for 250 years. In the meantime, Kabuki brought to perfection the art of the onnagata. No room for women in Kabuki when ban was lifted as onnagata had become an integral part of Kabuki.
- An inclusive and accumulative theatre — born at the turn of the 16th century, it incorporated parts of all the preceding theatre forms of Japan. Kabuki has drawn from Noh and Kyogen. (The kyogen play = comical interlude presented between noh performances)
- Kabuki has borrowed from puppet theatre, referred to as Bunraku, as well.
- In Kabuki, primary importance is placed on the actor.
- There was a period when puppets overshadowed actors and when puppet theatre was more popular than Kabuki (because great writers turned their attention to puppet plays seeing as actors dominated Kabuki). As a result, Kabuki adopted puppet plays… as a result, more than half of the kabuki plays are of Bunraki origin.
- “Until kabuki, the people of Japan had never seen theatre of such color, glamor, excitement and general extraordinariness. In these qualities, perhaps no theatre elsewhere in the world can excel the kabuki drama.”
II. Repertoire
- There are about 300 plays in the conventional Kabuki repertoire
- Shosa-goto, or dance-drama, is almost exclusively dance. Actors dance to the full accompaniment of vocal and instrumental music. Many of these dramas have their origins in Noh Drama and Kyogen plays.
- Historical drama: depict historical facts or present dramatized accounts of warriors or nobles. Heavy tragedies relieved only by momentary flashes of comedy. Often call up the hero to make the greatest possible sacrifices.
- Domestic drama: depict the life of the commoner class. Essentially a realistic story. Sometimes, however, these types of plays have scenes where th eacting and staging become unrealistic.
ORIGIN
- Plays adapted from Noh and Kyogen dramas
- Plays adapted from puppet theatre or Bunraku
- Plays intended for Kabuki
III. Aesthetic elements
FORMALIZED ACTING
- beauty of formalization
- actor must study the model style perfected by his predecessors
- model style, although realistic, has been highly formalized and become symbolical in the course of the development of Kabuki
- even in the realistic Kabuki plays, the most trivial gestures are frequently closer to “dancing” than to “acting” — almost every gesticulation is accompanied by music
- mie is a special technique of Kabuki that is perhaps most in keeping with this principle of formalized beauty
- “employed in certain climatic moments or at the close of a classical play by the principal actor who momentarily pauses in a pictorial posture and assumes a stare and crosses his eyes”
- Kabuki emphasizes statuesque beauty
- Formalization is also characteristic of the vocal aspect of Kabuki acting — idealized elocution… NOT speaking. Half-way between singing and ordinary conversation. As a result, coinciding action on stage is even more rhythmic, with movement assuming an appearance more like a modified form of dancing
COLOR SCHEME
- spectacular beauty
- the most lavish and extravagant costuming, set design, and makeup in the world
- success of Kabuki —> pictorial beauty
- “audience can derive full enjoyment from the wonderful spectacle of the superb color scheme unfolded dazzlingly before their eyes, even when they are not convinced of the plot of the story”
ACOUSTIC ELEMENTS
- principal instrument used: three-stringed, balalaika-like instrument played with a plectrum, commonly called shamisen
- Kabuki music = shamisen music
- as curtain opens, music starts
- musicians are hidden from audience vie in the left corner of the stage
- music is a leitmotif of the play — gives cue for the actor’s entrance
- in case of a dance-drama, musicians are not hidden from audience as music has a much more dominant part
- sounding of wooden clappers signaling the opening and closing of a Kabuki play
IV. Theatre and Stage
- Kabuki theatres in Japan are built in Western style — they have retained some of the significant features of the traditional Kabuki theatres
HANAMICHI OR FLOWER-WALK RAMP
- passageway connecting left side of the stage with the back of the hall through the spectators’ seats at about head level of the audience
- actor’s entrances and exits
- constitutes a part of the stage — while making their entrance/exit via this ramp, the actors often give one of the most important scenes of their performance
MAWARI-BUTAI OR REVOLVING STAGE
- makes rapid changes of scene possible without interrupting the sequence of the plot
OTHER ASPECTS
- proscenium — long rectangle as opposed of the nearly square form
- curtain — red-brown, black, and green cotton stripes. Not raised… drawn aside instead.
V. Actors
- emphasis is on the actor
- writers of Kabuki plays were “fully aware of the characteristic strengths and weaknesses of the individual actors as well as their dramatic taste in performance, and they took unusual pains to write plays capable of bringing out the superior talent of these actors.”
- sometimes, the actors even altered the lines and the plot to best suit their skills
- every Kabuki actor needs to be trained/prepared for Kabuki acting
- any person who aspires to be a Kabuki actor must begin training as a child
- must be trained in as many branches of artistic culture as possible: dancing and music
- dramatic technique in a Kabuki is a presentation of the cumulative efforts of the contemporary actors and their ancestors from many generations back — family inheritance
- “There was a time when it was customary for an actor to play only the role in which he excelled.” — nowadays the actors are more versatile. The exception to this is onnagata: “The secret f the onnagata’s beauty as presented on the stage lies perhaps in the fact that it is a feminine beauty which has been created not naturally but artificially through the eyes of men objectively looking at the behavior and psychology of the opposite sex.”
- Kabuki actors used to have a low social status
- yaga or house-identification — given to every Kabuki actor. Like a stage name. Audience members cheer actors on by using their house names.
- Kurogo (men in black): strange-looking, clad and hooded all in black… to handle props on stage while the curtain is open…. to prompt actors. Audience is meant to disregard them.
VI. Kabuki in Present-Day Japan
- has stood the test of time because it is now in its crystalized form
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“Zen Buddhism: Its Roots and Beliefs”: An article by Andrew Miklos
- a religion that be considered a philosophy because followers of Zen do not worship a god
- followers of the samurai’s religion meditate to uncover the “meaning of life”
- developed from Buddhism, transformed into a mixture of Taoism, Confucianism, Indian spiritualism, and Buddhism
- the deeper meaning of the “religion of no religion”
- “To fully understand the meaning of Zen, a Zen practitioner must meditate.”
- Buddhism = the father of Zen
- Siddhartha, a prince, was born close to 500 B.C. —> dedicated his life to being enlightened —> at the age of 35 he attained Enlightenment under the fabled Bo tree and became BUDDHA or “The Enlightened One”… —> Although Buddha’s body died later, his spirit lived on and went into the next person that needs a soul (people that are being conceived)
- Closest translation for Zen = contemplation = Enlightenment
- Zen was once called Ch’an which is a belief of impermanence which means that those who practice Zen are not as materialistic as others
- Followers of Zen believe in KARMA = karma is thought of as nature’s “cause and effect” system
- “With our eyes on the horizon, we do not see what lies at our feet” is a Zen explanation for the reason of Ch’an’s difficulty of comprehension
- The practitioner must learn on his own
- Zen must be comprehended… not explained
- Shamatha contemplation: a contemplator attempts to recognize the stream of consciousness without trying to manipulate or interrupt it
- Vipshayana contemplation: one may find Enlightenment
- Zazen meditation: practiced while seated, contemplator must notice his breathing without trying to alter its natural pattern
- “The belief of no faith is an assimilation of many other religions from the East. Since the religion began in Japan, it shows the Japanese ability to borrow cultural aspects of other cultures and incorporate it seamlessly with Japanese culture.”
Wabi-sabi
- Closest word to wabi-sabi: rustic
- primitive art
- wabi = misery of living alone in nature, living away from society, discouraged emotional state
sabi = disheartened, - wabi: a way of life, a spirited path, a philosophical construct, spacial events
- sabi: material objects, art, literature
- wabi = outward
sabi = inward - wabi-sabi has poetically taken a turn
- in tune with nature
- a wabi-sabi person is someone who epitomizes ZEN, free from greed, free from anger
- is haiku a form of wabi-sabi?
- samurai are a good example of wabi-sabi
- not a decorating style, a mindset
- a whole, encompassing philosophy
- a quiet and sensitive state of mind
- it is about learning to see the invisible
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At a glance: Kabuki Theatre
- A classical Japanese dance-drama
- Known for stylization of drama and extravagant makeup
- Influenced by the aristocratic Noh
- Popular entertainment for the masses
- Performed entirely by men — ironically enough was introduced by Okuni, a female shrine attendant, in the 17th century
- A large part of the popularity of the early, all-female performances was due to their sensual nature. The performers were also prostitutes and male audiences often got out of control. As a result, women were banned from performing by the Tokugawa Shogunate. Ironically, the young male actors who took over kabuki also engaged in prostitution and audience disturbances continued to break out. Again, the Shogunate clamped down and troupes composed of older actors were required to perform more formalized and strictly theatrical dramas, based on kyogen. Changes were made to the traditional noh stage, such as adding a draw curtain and a hanamichi (catwalk) through the audience to allow dramatic entrances and exits.
10 Questions on Kabuki Theatre based on reading
- How did Kabuki Theatre speak to different castes?
- How is the popular belief of the “other dimension” or the “supernatural” reflected in Kabuki plays?
- How is makeup used symbolically in Kabuki Theatre?
- How did the restrictions placed on Kabuki Theatre (due to the political nature of its context) help shape what we now recognize as “Kabuki Theatre”?
- ”Since its beginnings kabuki has been appreciated as an “actors’ theatre” in which performance has traditionally overridden in importance considerations of literary value or scenic effect.” How is this reflected in stock Kabuki plays?
- How is the “mie” used in Kabuki Theatre and what is its intended effect on the audience?
- How can stylized movements of Kabuki Theatre be interpreted symbolically?
- How are costumes used symbolically in Kabuki Theatre?
- Which elements are supposed to be brought by Kabuki actors? What is it that makes these elements essential to Kabuki Theatre?
- How were contemporary events reflected in Kabuki plays?
Comparison and Contrast between Commedia and Korean Theatre
Similarities
- For lower class, mockery of upperclass
- A basic storyline with improvisation
- Masks have a purpose to fulfill — not just to decorate
Differences
- Catharsis is a powerful element in Talchum, not possible in Commedia
- Commedia masks are usually made out of leather… don’t have many colors
WE DID IT! That’s a wrap, cast of Back to the 80’s!
WE DID IT! WE DID IT! WE DID IT! We have every reason in the world to feel accomplished. Can I just say that I am so glad I decided to audition for the musical. I was really worried about my schedule for February because I thought it’d be really tight with the IBTA play, APAC theatre, and the musical. But I auditioned anyways and HEY, LOOK! I MADE IT OUT ALIVE! This experience has been rewarding on so many levels.
I don’t know how to feel.
I mean, I feel accomplished, of course. I look forward to having a social life again. I also look forward to SLEEP! All that aside, however, I feel strangely hollow. I really hate knowing that all of this is over.
It’s been amazing though. I’ve gotta say. Amazing doesn’t even begin to describe my experience as a member of the cast of Back to the 80’s: The Centennial Musical.
Playing Debbie Fox was definitely a whole lot of fun. It was great being able to play off of the magnificent Emily Adams who played the character of Laura Wilde. I will miss the duo. I really will. They were a hearty two.
I wasn’t thrilled about my performance Friday night. “Let’s Hear it for the Boy” was horrifying on my part. I really beat myself up about it because I knew I could’ve done so much better. I mean, I had been practicing for over three months!! And I didn’t think I sounded that terrible singing my solo during mike checks. I really pushed myself Saturday night, though, because I knew that I wouldn’t be able to forgive myself… EVER… if I let myself down both nights. I didn’t do as well as I had hoped, but I did better.
What’s weird was that I wasn’t especially nervous this time around. I thought I’d be nervous out of my mind before my solo, but I wasn’t. In fact, I wasn’t nervous… at all. Maybe this is was part of the problem? Maybe I was thrown off balance because I’m so used to feeding off of nervous energy and there was none. I don’t know. I was in a funk Friday night… talk about worst possible timing or what? I really tried to get myself back on track. I really did. But something was just off. I was just a downer. I wasn’t my usual self. I don’t know what was wrong. Nothing was wrong, actually. Nothing happened. Everything was good. It was weird.
That being said, however, I did manage to have a fantastic time once I was up onstage — on Saturday night, at least. I am forever grateful to Mrs. Edie Moon who had enough faith in me to give me the role that she did. I am aware that she had to fight for me during the process of casting and I know it must’ve been tough because I’m not the greatest singer. I will always remember how lucky I was to be able to play Debbie Fox. Always, always, always!
The show, overall, went great! There were a couple of slip-ups here and there, but that’s expected with a musical consisting of 27 song numbers! I think we did pretty fabulous with the amount of time we had. Besides, the audience relished every minute of the show and that’s what’s important. Oh, and also can I just say… FULL HOUSE BOTH NIGHTS… that is what is UP! We had a waiting list for seats!!! That, my friend, is CRAZY! Crazy stuff!
Let’s hear it for the boy! Let’s hear it for the ruthless mike tape! Let’s hear it for the hours spent on Footloose! Let’s hear it for stage makeup! Let’s hear it for the overalls and colors! Let’s hear it for hairspray! Let’s hear it for the gobos, ellipsoidals, and fresnels! Let’s hear it for the CD backdrop! Let’s hear it for breakin’ a real sweat up there! Let’s hear it for all of our CHARACTERS! Let’s hear it for the Rubik’s cube! Let’s hear it for the spirit of it all! LET’S HEAR IT FOR THE ENERGY! Let’s hear it for taking everyone back 32 years ago! Let’s hear it for the ELECTRIC 80’S!
I don’t know if it’s even necessary that I mention this anymore, but my love for theatre has yet again grown. That will be all.
Just kidding, now it’s time for some photos :3
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Commedia dell’Arte: Arlecchino
Origin of Name
- No one knows where name comes from
- Magical, enduring quality
Status
- Servant to Pantalone, Il Capitano
- Usually the second zanni
Costume
- Harlequin
- Jokester costume
- Tight fitting long jacket and trousers
- Black shoes
- Adopts many disguises — cross-dresses
Mask
- Has a wart
Props
- A battachino = a bat — symbol of Arlecchino himself because he never puts it down
- A belt
Commedia dell’Arte: Pantalone
Meaning
- Means needy
- Entirely based on money and ego
Mask
- Pointed long nose
- Like a bird
- Big eyebrows
Character
- Thinks highly of himself
- Really rich
- Thinks that he’s very smart
- Usually becomes the butt of the joke
- Always tries to go around and flirts with girls but he never gets any
Role
- Usually a father of one of the lovers… against their relationship
- Doesn’t treat others received
- Perceived to be a pivotal part of commedia
- Often placed at the beginning of the comedy
Forever Alone
- Usually a widower or bachelor
Walk & Costume
- Usually acts as if a bird
- Neck movements
- Small steps
- Feet together
- Often short
- Wears dark colors
Commedia dell’Arte character: Colombina
- Female version of the zanni: zagne
- Personal maid to the prima donna innamorata
- Initially strong and attractive — like a circus artiste
- Later she is petite and pretty
Costume
- Better dressed than the male servants
- Mob cap and apron
- Wearing a “folly” dress underneath
- Skirt fell below the knee
- Several colors of material used
- Neck line is low and often frilled
Mask
- Unmasked but the eyes wide and well made-up, can wear domino for special excursions
Stance/Walk
- One knee bent with the other extended
- Slight forward tilt from the hips to show best features
- Tiny waist and wide hips
- Has a little flick of the foot at the end of grand zanni walk
Movements
- All zanni movements in any combination
- Movement continues during speaking, shifting balance from one foot to another
- Moves the head sharply as if searching for someone other than the person addressed
- Fast and nimble in order to escape unwanted attention or butt into situations
Gesture
- Hands either on hips, holding apron or making significant gestures
- When excited… throw her hands up as if still dancing with the tambourine
- A good mimic
Speech
- Sharp and gossipy
- Frequent variations of high pitches
- Originally Tuscan — can be adapted to any dialect
Animal
- Dove
Relationships
- In love with Arlecchino and sometimes sees through him
- Fells the need to look after him and educate him in hope that he’ll break the bounds of being a fixed type
- Can be very affectionate with other characters and the affection seems to flow through her physically but she always holds something back
Relationship with the Audience
- Collusive — almost confidential in the sense that she too can see what fools the rest of them are
- She flirts with the spectators
Plot Function
- Center of the turning wheel… in everything that’s going on, she exerts a benevolent influence
Characteristics
- Only lucid and rational person
- Autonomous and self-sufficient
- Enough to eat, decent clothing, no ambition to be rich
- Can read and write
- Sings, dances, captivated
- Uses her brain
- Lone figure
- Very sexually knowing, but 100% a virgin
- She is good at her job
Commedia dell’Arte character: Pedrolino
Background
- Has appeared under several names throughout history
- Became obscure at one point and then re-emerged
Character
- Role given to the youngest son, bottom of the peking order
- Pedrolino is often the butt of jokes, sometimes a servant, rather cowardly but never loses his dignity
- Youthful and cute, childlike manner
Costume
- White-powdered face
- Baggy clothes
- Sometimes a pointed white hat
Physical Movement
- Elbows bent, hands kept active
- Walks direct in straight lines
- Head moves like a chicken
- A little acrobatic, energetic
Relationships
- Mostly a loner, faithful to his master
- Suffer eternally unrequited love for Colombina — will blame himself for not being adequate as a lover
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