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

lacquers dances and dramas as they are seen today involve 1300 years of continuous uninterrupted history. This prodigious feat of conservation, theatrically speaking, makes Japan an extraordinary and unique country. In all of Asia, where tradition generally is consecrate and change eschewed, Japan stands as the only country whose theatre is its totality has never suffered an eclipse nor undergone any drastic revivification or renovation. The closely traditional form of Japanese theatre is kabuki. Its origin goes back to the latter(prenominal) part of the 16th century and, with extensive and continuous evolution, it has now been better into a state of classical refinement. Though not as prospering as it once was, the kabuki theatre retains wide popularity among the people, and is in fact drawing off quite large earshots eventide now. During the period generally referred to as the capital of Japan Era, during which much of the development of kabuki took place, distinctions b etween the warrior class and the commoners was more rigidly notice than at any other time in Japans history. Mainly the merchants well-bred the art of kabuki in those age. They had become increasingly powerful economically, but had to quell socially inferior as they belonged to the commoner class. To them kabuki was closely significant as the artistic means 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 keeping with the kabuki spirit of unusualness, is the fact that it has no actresses whatsoever (Bowers 325). Male impersonators known as onnagata play all distaff parts. The players of the kabuki drama in it s primitive stage were principally 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 put discover to a serious demoralization of the public and in 1629 the theatrical look of women was officially banned. However, since the public already accepted kabuki, men immediately took everywhere and have continued performing to the present. The ban on... ...e curtain is open and shell out 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 founding shows that an ancient 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 invigoration in Japan, a country whose whole civilization has undergone a nifty degree of Westernization, yet it enjoys wide popularity. A principal reason for this lies in the fact that it is now a crystallized 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. unused 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.