Kabuki theater (歌舞 伎) was born in the early 17th century, and was initially very different from

kabuki today.
It was founded, according to tradition, by a miko (priestess of Shinto shrines), Izumo no Okuni,
who began recruiting some marginalized women, teaching them to sing, dance and act, and began
performing in 1603 in some dry riverbeds of Kyoto.

These performances dealt with themes of ordinary life, and they became so popular that the style
began to be imitated by many theater companies, and they became one of the most popular forms of
entertainment in the red light districts of Tokyo and Kyoto.
The main characteristic of this first "step" of kabuki (called onna-kabuki) was precisely that all the
actors were women, even for male roles, and these women were often also available as prostitutes
after the shows.
In 1629 this type of entertainment was prohibited by the shogun, and the actresses were replaced by
young boys, and then only by adult men, even for female roles.
From this moment, the kabuki that reached today began to form, and dance instead of acting,
became more and more important in shows.
The "Golden Age" of this theatrical style was the Genroku period (1673-1841), during which
kabuki was gradually defining itself, influenced by bunraku (Japanese puppet theater), and it was in
these two centuries that many of the most famous plays were written, including those of the most
famous playwright in Japanese history, Chikamatsu Monzaemon.

Kabuki plays are grouped into three main categories, depending on the theme:

-Jidai-mono, works with a historical theme, that speak of the exploits of the ancient samurai. This
type is closer to myth than to history, the stories are in fact often surrounded by fantastic and
legendary elements, which are inspired by classic epic poems or historical texts, reworked by the
authors with the addition of magical elements and mysterious;

-Sewa-mono, the opposite of the jidai-mono, in fact, these works are developed in the contemporary
world of their writers, and describe stories of ordinary people; This realism is manifested not only
in the plots but in any style of representation, in the scene and the costumes;

-Shosagoto, dance works.

The scenes in the Kabuki theater

The stage of a kabuki theater is characterized by the hanamichi, a kind of catwalk that passes
through the audience, which is used not only for the entrance or exit of the actors, but sometimes
also to stage some parts of the show.
The stage is also equipped with various "technologies", born over the centuries, that aid in the
realization of one of the main characteristics of Kabuki theater, which is the presence of unexpected
plot twists and transformations.
The main feature is the revolving stage (mawari butai), invented in the early 18th century. There are
also some hatches, useful for making characters appear and disappear (seridashi and serioroshi), a
cable system that allows characters to be raised and raised as if they were flying (chunori), and
other "tricks".

The scenes in the Kabuki theater

The stage of a kabuki theater is characterized by the hanamichi, a kind of catwalk that passes
through the audience, which is used not only for the entrance or exit of the actors, but sometimes
also to stage some parts of the show.
The stage is also equipped with various "technologies", born over the centuries, that aid in the
realization of one of the main characteristics of Kabuki theater, which is the presence of unexpected
plot twists and transformations.
The main feature is the revolving stage (mawari butai), invented in the early 18th century. There are
also some hatches, useful for making characters appear and disappear (seridashi and serioroshi), a
cable system that allows characters to be raised and raised as if they were flying (chunori), and
other "tricks".

Make-up.
First, a white base is placed, based on rice powder, (the same one used by geishas and maikos for
their daily makeup) which is what gives the face the similarity of a mask, and then the face is made
up depending on the role to be played. The makeup technique is known as Kumadori, which is very
elaborate and whose function is to emphasize personality and facial expressions, following the
contour of your bones and facial muscles.

For example, the villain will wear blue and black colors on his complexion, but be careful, because
the same colors can be used to represent Gods, while the hero of the play will be the bearer of the
color red (strength, anger, energy). The role of the wagoto goes without makeup, and the onnagata
or oyama has its makeup corresponding to that of the geishas (in the entry about geishas, you can
refresh the style of it). The Aragoto wears a very characteristic red make-up, and even the back of
his hands are made up.

Locker room.
The kimono should represent the character's rank, age, social status, occupation, and her character.
This is achieved through the design of each piece, enhancing parts of the body. For example, in the
case of a warrior, the lines will be strong, and the shoulders will be exaggerated, giving the feeling
of strength and courage, while in the female character (onnagata), the lines of the kimono will be
softer, deliberately longer in waist. , to make the actor's body look shorter, and looking for the
curves of a woman's body.

Likewise, color is an important element to convey the character of the character. Light blue, called
asagiiro, is worn by a young man who conveys great physical attraction, the heartthrob of the story.
The purple color, given to a young warrior of high rank, suggests dignity, and grace. The color gold
represents extravagance, and a powerful or rich man. Black represents evil, used by villains. The
intelligence pink, worn by the beautiful maiden, or the two lovers of the work.