Module 1 - Japanese

Musical Theater:
The Kabuki
Reporter: Mariel S. Rata
Presentation made by: Mariel S. Rata
 What I need To Know
In this module, you will be exploring the elements and aspects of Asian musical theater,
specifically the Kabuki in Japan. You will also learn about the history and development of this
theatrical form. After reading and answering the activities in this module, you are expected to:
- Identify musical characteristics of selected Asian musical theater through video films or
live performances (MU8TH-Va-g-1)
- Describe the instruments that accompany Kabuki, Wayang Kulit, Peking Opera
(M8TH-IVa-g-2);
- Describe how a specific idea or story is communicated through music in a particular Asian
musical theater (MU8TH-IVb-h-3);
- Improvise appropriate sound, musiC, gesture. movements, props and costume for
performance of a chosen Asian traditional musical and theatrical form (MU8TH-IVb-h-7):
- Perform selection/s from chosen Asian musical theater (MU8TH-IVa-g-6):
- Evaluate music and music performances using guided rubriCS applying knowledge of
musical elements and style (MU8TH-IVc-h-8).
 What are the different elements and aspects that make
Kabuki the most popular Japanese theatrical form?

Japan is a country well-known for its fine arts and folk arts such as the Cha-noyu (tea ceremony),
the Ko-awase (incense mixing), and the Ikebana (Flower arrangement). It is also known for its
three popular indigenous theatrical forms called the Noh, the Bunraku, and the Kabuki.

The Noh is an old form of Japanese theatrical tradition wherein the actors wear masks and speak
and sing in a monotonous manner. It is often accompanied by a chorus and an ensemble of
musical instruments. Another important form of Japanese theater is the Bunraku. This theater
form is composed of puppeteers, the chanters, and the shamisen (a three-stringed musical
instrument) players. Among the three theatrical forms, the most popular theatrical form in Japan
is the Kabuki because of its rhythmical lines and colorful makeup.
 Origin and Development of Kabuki

The word Kabuki is derived from the word kabuku meaning "to be out of the ordinary’. This is a perfect
way to describe Kabuki as an art. It is sometimes called avant-garde or bizarre theatre. It is translated in
modern terms as song (Ka), dance (Bu) and skill (Ki).

Kabuki is a type of acting based on the art of singing and dancing. It is a classical play for the masses
with rich artistic qualities and complicated form. Therefore, it is expected to be performed with skill. It
is performed in a large theater. It is much different from the Western drama we often see mounted on
stage. It is rich in elements of recreation which the public often enjoys.

The Kabuki traces its roots from a stately dance and music dedicated to the deities called kagura. The
kagura was made popular by a girl named Okuni who lived in Izumo about four centuries ago. Okuni is
the daughter of a skilled blacksmith and a server in a Shinto shrine. She went to Kyoto to perform her
kagura derived from a primitive Buddhist dance called Nembutsu Odori.
Okuni’s performance in the Kyoto river beds was well received by the people not because of the religious aspect it
brings but more so because of her beauty and gracefulness. Apparently, a person by the name of Sanzaburo was
impressed by her beauty and graceful performance. Sanzaburo then influenced Okuni to incorporate Popular music
with her graceful movements and even offered to compose original music with her performances. This was the
beginning of the development of theatrical form now known as Kabuki.
The first kind of Kabuki was called Onna Kabuki, This was taken from the gender of its founder Okuni who is a
woman or an onna. In Okun's version of Kabuki, dresses up and acts out the parts of the men who often visit
tea-houses during that era. Later, she soon gathered women, children, and men to be part of her company of
performers. Okuni reached the height of her popularity by 1603-1604. She was able to establish a lot of
performances and performance venues in the various parts Of the city where the people often flock. Her plays
later on caught the attention of the nobility as she was invited to perform her act at the residence of the Shogun.
This event paved the way for Kabuki performances to be imitated and performed in various playhouses. This also
gave men who were unemployed an honourable work.
Unfortunately, some men without honourable employment and women from the prostitute quarters who are part
of the company have shown gross immorality and licentiousness. This made the Onna Kabuki a dangerous
influence in thought that resulted in the awakening of the expression of freedom against the Shogunate
prohibition was issued stating that the Onna Kabuki was to be confined and performed in the outskirts of the city.
In 1617, Dansuke, an owner of a Kabuki company where women and children perform together, founded
the first all male company at the time of the downfall of the Ashikaga Shogunate. It was during this
period that women were forbidden to perform on stage. Their parts were performed by men giving this
kind of Kabuki the name Wakashu Kabuki. Since women were not allowed to perform, greater attention
and detail were given to costumes, scenery, and music. However, in 1644, when Wakashu Kabuki was
most popular, official prohibition was renewed to stop the employment and training of young boys
which undermined the morals of the warrior class during that time. Despite this challenge, the older
men continue to perform the art of the Kabuki tradition as womenfolk or the onnagata.

Chikamatsu Monzaemon is one of the greatest dramatists of the Kabuki theater. Some of his works like
the Sonezaki Shinju became very popular. It was a story of lovers both committing suicide at the end.
This story inspired real life "couple suicides," eventually forcing the govenment to ban the play. When
Chikamatsu decided to go back to writing puppet plays, Kabuki incorporated elements of Bunraku to
remain popular. Throughout the centuries, the Kabuki refused to be destroyed and set aside. It has
found its place in the lives of the people.
 Characteristics of Kabuki

The first characteristic that makes Kabuki a unique play is its cast. It is composed of an all-male cast with the
much good looking men called the onnagata performing the parts of the female characters. These onnagata are
trained from early childhood allowing them to do female impersonations with perfection. Among the
well-known onnagata in Japan are Tomoemon Otani, Utaemon Nakamura, and Onoe Baiko.

An important part of the Kabuki performance is the makeup used called Kesho, There are two types of Kesho: a
standard type for most characters and Kumadori which is applied to heroes and villains. A white base is
applied to the whole face and certain colorful lines are applied linking certain characters to certain qualities.
Dark red represents passion or anger; dark blue, depression or sadness; pink, youth; light green, calm; black,
fear, and purple, nobility. Eyebrows are painted higher and eyes are outlined red for women and black for men.
Black is also used to make the lips curve downward and to make women's lips appear small.
Another unique characteristic of Kabuki is the hanamichi or the "flower way." It is a nearly two-meter wide
ramp stage that extends out through the seating area from the down stage right edge of the main stage. This

02
allows the actors to move near the audience and for the audience to enjoy the art closer. The ramp stage is
often used as an extension of the main stage. A lift on the ramp provides a way for the supernatural beings to
enter and exit the stage. For rapid changes in scenes, a revolving stage proves to be helpful in the kabuki play
as it shortens the time of stage interval between acts. It also has a part where the actor may disappear from
the into the ground.

A Kabuki performance can be divided according to Jidaimono which subject matter. The first is is based on
domestic history. The second is Sewamono which is based on events. These parts are exotic creatures. A
separated by dances that feature ghosts or other large dance, Ogiri Shosagoto, ends the theme of Kabuki
performance. The main plots is "reward the virtuous, punish the wicked." With from Buddhism and influences
Confucianism, Kabuki finds human tragedy in the conflict between passions and morality. To learn more about
the Kabuki style of the make-up, costumes, performance, and inner workings of the plays.
 Music
Japanese music has earned its place in Buddhists festivals, court celepra narrations, Noh-drama and theatrical
folk presentations. The great traditions of Japanese music were developed during the 17th to 18th centuries.
This is the era when the Koro (a zither), the shamisen (a three-stringed lute), and the music of the Kabuki
became very popular and well-appreciated. The music that acco Kabuki is called Nagauta. It includes singers,
shamisen players, drum players and flutists. The performance style of Nagauta is similar to Noh.

Musical instruments play an important aspect in Kabuki. Songs and dances a performed with the use of
Japanese traditional instruments. Evidence from the paintings of the Kabuki performance found in the
Takigawa-period scroll showed Okuni performing in an outdoor stage holding a small gong similar to the ones
us in the performance of the Nembutsu Odori. Other men featured in the painu a seen playing the Noh drum,
the Noh flute, and singing songs. Thus, it could be said that the early Kabuki music is highly influenced by the
Noh drama ensemble.
 Music Instruments

One of the most unique features of Kabuki is the use of different musical instruments such as the
shamisen. Some of the most spectacular and exciting music Kabuki also comes or tne from its drum
ensemble and its flutist. The variety of tones produced by the drums and the unworldly melodies of the
flute mystifying element of Kabuki provides the musical instruments used music. Study the table below
to learn more about the in Kabuki performance.
The form of the music in Japan follows the JO-HA-KYU concept. The music begins with Jo or the
introduction followed by the Ha or the scattering or the breaking apart and finally, with the Kyu, or the
rushing end of the music. Such Tiow of music is observed in the dance form.

Vocal music is equally important as the musical instruments are in KabUki. In fact, the singer is often
considered the star even in the earliest days of Kabuki. The vocal range of the singer must be that of a
baritone to a tenor. The style of singing utilizes the strength of the abdomen creating a chest tone to a
head tone. With this technique, the throat remains tense and the tone is forced into the upper register
without resorting to falsetto. The singers are trained by simply imitating their teacher's voice. At first, the
songs are sung at a low pitch. Later, they are performed on a higher pitch. Most songs in Kabuki are
performed with vibrato.

Nagauta is a kind of traditional Japanese music which literally means a "long song." It is also used to
accompany Kabuki dances and provide reflective interludes in between dramas. The Nagauta can be
classified as a repertoire that consists of dance music and lyric works.
End!