Download e-book for kindle: Kabuki: Baroque Fusion of the Arts by Kawatake Toshio, Frank Hoff, Jean Connell Hoff

By Kawatake Toshio, Frank Hoff, Jean Connell Hoff

The writer of this booklet is the son of the celebrated theater historian, Kawatake Shigetoshi, who was once himself the followed son of the good nineteenth-century kabuki playwright Kawatake Mokuami. The latter wrote round 360 performs, and Kawatake Shigetoshi used to be a really prolific student; it's going to now not be brilliant, then, to learn within the epilogue of Kabuki: Baroque Fusion of the humanities that Kawatake Toshio has written seventy eight books "so far." Kawatake (as i'm going to seek advice from him hereafter) has had a prior e-book translated into English, Japan on level (1990), which, just like the large bulk of his output, specializes in kabuki, yet he claims of the current quantity that "it may be known as the end result of 50 years of scholarship let alone" (p.279) his vast event as an arranger and manager of kabuki productions either in Japan and on tour.

Had this declare been made within the prologue, instead of within the epilogue, it'll have arrange expectancies that the booklet doesn't really satisfy. regardless of yes drawbacks, notwithstanding, the publication has a lot to supply, particularly for these now not very acquainted with kabuki. the 1st critical English-language booklet strictly concerned with kabuki was once Zoë Kincaid's Kabuki: the preferred Theatre of Japan (1925). for that reason, not anything of value used to be released till the postwar interval, which observed an explosion of overseas curiosity in kabuki mirrored in books via Faubion Bowers, Earle Ernst, Masakatsu Gunji (in translation), James R. Brandon, and others, together with myself. Many such books have been thorough introductory overviews, numerous of them amazing examples of either scholarship and writing, whereas a smaller quantity have been extra really expert, discussing specific old, dramaturgical, or aesthetic concerns. regardless of the life of significant stories of kabuki (primarily in edited collections), their quantity and the intensity in their investigations don't examine with works that, specifically lately, were dedicated to Japan's nōtheater via writers resembling Steven Brown, Janet Goff, Gerry Yokota-Murakami, Etsuko Terasaki, Mae Smethurst, and Eric Rath. (Bunraku and kyōgen, it would be famous, lag some distance, a long way at the back of in both English-language overviews or really expert studies.)

Kawatake's ebook is a truly shrewdpermanent advent to kabuki however it remains to be an creation. It covers loads of flooring made wide-spread in different books, in particular these of the final twenty years. actually, considered one of its flaws is its evaluation of fabric that Kawatake himself brought in Japan on level. for instance, he retells the tale of kabuki's first excursions to the West within the Sixties, and how—to the shock of the japanese producers—foreign audiences reacted extra certainly to dramatic performs resembling Shunkan and Kanadehon Chūshingura (Treasury of dependable retainers) than to lyrical dance performs similar to Musume Dōjōji (The maiden on the Dōjō temple) or visually attractive yet dramatically obscure theatricalist workouts just like the "Kuruma biki" (Pulling the carriage aside) scene in Sugawara denju tenarai kagami (Sugawara and the secrets and techniques of calligraphy). Kawatake revisits his event as a literary adviser to the troupe, accumulating facts on viewers reactions through using questionnaires. different déjà vu examples look in his dialogue of kabuki's "travel scene" (michiyuki); the etymology of the Sino-Japanese graph for geki (drama); the rarity of whatever just like the auditorium passageway (hanamichi) in different premodern global theaters (and the trouble of environment one up while traveling abroad); and the conception of kabuki as a baroque theater shape. Tsubouchi Shōyō's clarification of kabuki as a chimera, an analogy brought in English in Kawatake's father's ebook, Kabuki: jap Drama (1958), is one other quarter Kawatake don't need to have recycled. in addition, numerous topics, which would were thought of new quite a few years in the past, have been brought to English-language readers in a ways larger aspect somewhere else earlier than this book's visual appeal: those comprise Faubion Bowers's position in finishing the censorship of kabuki through the profession; the historic improvement of the hanamichi..

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Example text

As she dances the priests feel that there is something strange about her. She changes costumes during the dance and with each change the priests grow more fright­ ened. ” 1 The journalist’s question was this: “ This is what the program says but from what I could see she didn’t seem to be­ come anything at all like a serpent, and she w asn’t particularly frightening either. ” O f course, I thought to myself, this is the way a Westerner would look at it. Perhaps Musume D ojoji would have been more enjoyable had it been a dance drama in which the dramatic devel­ opment and changes in the character’s psychology had been as clear as they were in the program notes.

The travel scene, the beautiful dance, the bewitching of the young priests, the revelation of the dancer’s true serpent identity as she leaps up into the bell— all this dram atic story is the mere fram ew ork for a K abuki dance. On stage from the michiyuki (travel dance) to the suzudaiko (tamborine) section and right on up to the kaneiri (entry into the bell), Musume D ojoji consists of a series of virtually independent dances. It would be fair to say that to the observing eye there is no obvious dram atic develop­ ment.

To start with my conclusion, it seems to me that it boils down to the presence or absence of a dramatic storyline. Because the issues in­ volved have to do with the essence of Kabuki as theatre, I would like to clarify this with a few anecdotes. First, on the subject of dance, why w asn’t Musume D ojoji well received? After exam ining the issue from various perspectives, I came to the conclusion that the main reason is that its dram atic component is extremely weak. The dance’s source, the N oh play D o joji, is based on the well-known legend o f Anchin and Kiyohime and is dramatically well constructed.

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