Kabuki : A Japanese Form Essay -- essays research papers fc

Japans dances and dramas as they are seen today contain 1300 years of continuous unceasing history. This prodigious feat of conservation, internal representationly speaking, makes Japan an extraordinary and unique boorish. In all of Asia, where tradition generally is sanctified and change eschewed, Japan stands as the only(prenominal) country whose theatre is its entirety has never suffered an eclipse nor undergone any drastic revivification or renovation. The most traditional form of Japanese theatre is kabuki. Its source goes back to the latter p imposture of the 16th century and, with extensive and continuous evolution, it has now been perfected into a state of classical refinement. Though not as flourishing as it once was, the kabuki theatre retains wide popularity among the people, and is in fact drawing quite large audiences even now. During the period generally referred to as the capital of Japan Era, during which much of the development of kabuki took place, distinction s between the warrior class and the commoners was more rigidly ob availd than at any other time in Japans history. Mainly the merchants cultivated the art of kabuki in those days. They had become increasingly powerful economically, but had to remain socially inferior as they belonged to the commoner class. To them kabuki was most significant as the artistic way of life by which to express their emotions under the prevailing conditions. Thus, the fundamental themes of kabuki plays are conflicts between humanity and the feudalistic system. It is largely due to this humanistic quality of the art that it gained such an enduring popularity among the general public of those days and remains this way today. A unique feature of the kabuki art, and possibly the most significant detail and in memory with the kabuki spirit of unusualness, is the fact that it has no actresses whatsoever (Bowers 325). Male impersonators known as onnagata play all female parts. The players of the kabuki drama in its primitive stage were in the main women, and with the increasing popularity of kabuki, many of the actresses began to attract undue attention from male admirers. The authorities felt that this would lead to a serious demoralization of the public and in 1629 the theatrical appearance of women was officially banned. However, since the public already accepted kabuki, men immediately took over and have continued performing to the present. The ban on... ...e curtain is open and serve also as prompters. They are not characters in the play and the audience is supposed to disregard them. A review of theatrical history of the world shows that an past dramatic art, once its form has been stabilized in a near perfect state, has been capable of surviving the test of time even when its literary elements were no longer contemporary. (Hsu, 123) The truth of this statement is born out by the present state of kabuki. It does not depict contemporary life in Japan, a country whose whole civil ization has undergone a great degree of Westernization, yet it enjoys wide popularity. A principal reason for this lies in the fact that it is now a crystalised form. Kabuki has thus retained, and seems destined to retain, a place in the nations pride and affection. Works Cited1.Bowers, Faubion. Theatre in the East. New York. Grove Press, Inc., 19932.Hsu, Tao-Ching. The Japanese Conception of the Theatre. Seattle. University of Washington Press, 1985.3.Mackerras, Colin. The Japanese Theatre in Modern Times. Amherst. University of Massachusetts Press, 1975.