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Kabuki and Banraku

by: Julia Caine

Kabuki and Banraku THEA-UT 510

Marketplace > New York University > Theatre > THEA-UT 510 > Kabuki and Banraku
Julia Caine
GPA 3.5

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About this Document

These cover the sixth week of lecture, Japanese theatre styles Kabuki and Banraku
Introduction to Theatre Production
Edward Ziter
Class Notes
theatre, Japan, kabuki, banraku, puppet
25 ?




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This 2 page Class Notes was uploaded by Julia Caine on Tuesday April 19, 2016. The Class Notes belongs to THEA-UT 510 at New York University taught by Edward Ziter in Spring 2016. Since its upload, it has received 6 views. For similar materials see Introduction to Theatre Production in Theatre at New York University.


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Date Created: 04/19/16
Kabuki and Banraku Key Terms  Kabuki- Dance heavy Japanese theatre style  Kata- Specific movements of Kabuki  Mie- Culmination of tension into moment of stillness in Kabuki  Onnagata- Male actor that perfectly embodies femininity  Hanamichi- Runway for actors that runs through the audience  Banraku- Japanese puppet theatre of 17 century Class Notes  Japan has long civil war o Emergence of Shogunate  Development of paper money  International trade  Look to China  Bring back Confucian values  Strict class structure o Top is royalty  Under is samurai  Farmers, artisans, craftsmen o Merchants were bottom  Some still grew wealthy o Actors outside of class structure  Kabuki th o Founded in 16 century  Female temple dancers  Heavy in dance o Patrons are merchants  Royalty forbidden  Still go anyway o 1629- women forbidden to perform  Said to be corrupting young samurai  Taken over by young boys  Eventually forbidden as well o Onnagata  Male actor that can perfectly embody femininity o Chorus sings and chants o Actors have dialogue  Lines all have same rhythm o Actors do specific movements  Kata  Conventional physicalities  Vocal qualities  Mie o Culmination of tension into moment of stillness  Specific performance techniques  Individual choices of actors o Roles have traditional costumes  Costumes of same show can be from different time periods  Onstage costume changes  Represent character transformation  Regulated after 1670  Actors kept separate from population  Special laws for actors  Censorship of writing o Couldn’t write about present events o Staging  Hanamichi  Runway for actors o Go through audience  Scenery very flay  Changed by stagehands in front of audience  Platforms used to indicate interiors o Height of platform is status of building  Actors stand against scenery  Banraku th o 17 century o For middle and lower classes o Puppet theatre  Start as just heads  Develop later into full figures o Often tragic love stores/ warrior stores  Plays deal with current events o Puppeteers need decades of training


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