Kabuki Theatre
Acting Techniques
There are many specific techniques that have been used and perfected in kabuki theatre. Here are a few of the ones most commonly performed: Hikinuki: This was when an actor would have a dramatic costume change while being on stage. This was done by sewing the two costumes together with a thick thread called shitsuke ito. Just before the change was performed, this thread was pulled out, making the top costume come off and revealing the second costume underneath. In Kiga, spells like disguise self are commonly used to similar effect. Chunori: This was a midair performance that involved an actor being suspended above the audience and the stage. During the Edo period in real world Japan, ropes were used to hoist the actor up and keep him suspended. These techniques were used to enhance the illusion of ghosts, spirits, apparitions, and gods. In Kiga, illusion magic and abilities that provide flight are often used to create these kinds of performances. Tachimawari: This was a fighting scene that consisted of stylized movements that were taught to the actors playing the parts of the duelling samurai. One to one battles could occur on the stage, but whole casts could also engage in a tachimawari scene. In Kiga, especially during Water Ring trials, this type of scene is often performed by samurai trainees who are most comfortable in battle. Roppo: This was a stylized exit along the hanamichi (walkway extending from stage leading to an exit). It was a dramatic exit, enhanced by exaggerated movements of the hands and feet to imitate running. This technique is typically used in aragoto plays. In Kiga, many stages do not have a hanamichi, though dramatic exits are still extremely common. They are often accompanied by magic. Mie: This is when an actor strikes a dramatic pose while acting, causing a pause in the performance and giving rise to the expression of the feelings of the characters. Ningyo Buri: This is when one actor stands behind another and acts as a “puppeteer”, giving the impression that one character is being controlled by the other. The “puppet” character dances in imitation to the movements of a puppet while the other actor is behind them and initiating the movements. In Kiga it is sometimes observed that actual possession and manipulation spells are used to control actors referred to as "dolls". These dolls are sometimes inanimate objects brought to life by magic. Kabuki maku: In a theatrical performance, there are often a few curtains involved: one main one and a few more that add to the sets and make the setting more realistic. In kabuki theatre, there are many different types of curtains that are used to enhance the experience. One example is a curtain that is pale blue. This type of curtain is either dramatically unrolled from the ceiling to hide the stage or suddenly dropped from the ceiling to reveal the stage. Another type of curtain is used as a “disappearing curtain” to conceal actors that were “killed” on stage as they exit. One final example is a mist curtain that is used to hide musicians when they enter and exit the stage, leading to more aesthetic transition scenes. In Kiga, magical effects are often used to add to the drama of a scene change.Kakikae is a different method of creating a play. Kakikae works are called kakikae-kyogen and they are almost like a parody made from an already existing play. Think of it as a song. There are thousands of song parodies on the internet and some are very entertaining, but what makes these hilarious parodies so appealing? In theory, parodies are funny and interesting because they take something that is already very familiar to the general public and changes it up a little. This is exactly what the kakikae method of playwriting aims to do. It takes an already understood and adored work and tweaks it in a creative way. When performed, these plays attract large audiences because there is no need for the viewers to study the characters and try to puzzle out their connections and the hidden details. Therefore, they can just sit back and enjoy the show, which is the whole point of going to the theatre in the first place.
The Process of Writing a Kabuki Play
Every piece of writing or literature starts with one main idea that evolves into a complete and unique product. Kabuki is no exception here, for it too starts with one central theme around which the rest of the play is based. This theme is called the sekai.
The sekai of a kabuki play can be original and created by the author, but usually it was derived from different legends, previously written plays, and various literary works. When an author chooses a sekai from an already existing work, they are bringing into their play previously established characters that the general public is already familiar with. Therefore, the plays become more understandable and engaging to the audience.
With a certain technique called naimaze, multiple sekai can be selected. One author that used this method quite often was Tsuruya Namboku the 4th, and the benefit of using it was that one play could incorporate a large variety of settings and characters, leading to greater story development.
The next step for a playwright is to create an outline around their sekai. As mentioned, characters have already been selected, but now the setting must be elaborated upon, the places in which the play occurs must be decided, and the relationships between the characters also must be established.
In addition, the author has to decide now if they want the play to be a revenge story, a love story, or even a war story. After the outline has been established, the author can finally use their originality and imagination to make the play something new. All of the specific details added at this stage are called shuko.
Therefore, the process of writing a kabuki play can really be separated into two main parts. The first involves the selection of a theme and the creation of an outline, and the second is the addition of original ideas that make the play unique.