Love arts

1. Kabuki theater
Kabuki is a form of classical theater in Japan known for its elaborate costumes and dynamic acting. The
phrases Kabuki theater, kabuki dance, or kabuki play are sometimes used in politicaKabuki (歌舞伎) is a
classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the
elaborate make-up worn by some of its performers.
The individual kanji, from left to right, mean sing (歌), dance (舞), and skill (伎). Kabuki is therefore
sometimes translated as "the art of singing and dancing". These are, however, ateji characters which do not
reflect actual etymology. The kanji of 'skill' generally refers to a performer in kabuki theatre. Since the word
Kabuki is believed to derive from the verb kabuku, meaning "to lean" or "to be out of the ordinary", Kabuki can
be interpreted as "avant-garde" or "bizarre" theatre.[2] The expression kabukimono (歌舞伎者) referred
originally to those who were bizarrely dressed. It is often translated into English as "strange things" or "the
crazy ones", and referred to the style of dress worn by gangs of samurai.
History
1603–1629: Female kabuki
The history of kabuki began in 1603 when Izumo no Okuni, possibly a miko of Izumo-taisha, began performing
with a troupe of female dancers a new style of dance drama, on a makeshift stage in the dry bed of the Kamo
River in Kyoto.[3] It originated in the 17th century.[4] Japan was under the control of the Tokugawa shogunate,
enforced by Tokugawa Ieyasu.[5] The name of the Edo period derives from the relocation of the Tokugawa
regime from its former home in Kyoto to the city of Edo, present-day Tokyo. Female performers played both
men and women in comic playlets about ordinary life. The style was immediately popular, and Okuni was asked
to perform before the Imperial Court. In the wake of such success, rival troupes quickly formed, and kabuki was
born as ensemble dance and drama performed by women—a form very different from its modern incarnation.
Much of its appeal in this era was due to the ribald, suggestive themes featured by many troupes; this appeal
was further augmented by the fact that the performers were often also available for prostitution.[2] For this
reason, kabuki was also called "遊女歌舞妓" (prostitute-singing and dancing performer) during this period.
Kabuki became a common form of entertainment in the ukiyo, or Yoshiwara,[6] the registered red-light district
in Edo. A diverse crowd gathered under one roof, something that happened nowhere else in the city. Kabuki
theaters were a place to see and be seen as they featured the latest fashion trends and current events. The stage
provided good entertainment with exciting new music, patterns, clothing, and famous actors. Performances
went from morning until sunset. The teahouses surrounding or connected to the theater provided meals,
refreshments, and good company. The area around the theatres was filled with shops selling kabuki souvenirs.
Kabuki, in a sense, initiated pop culture in Japan.

2. 1629–1673: Transition to yarō-kabuki
as onnagata ("female-role") or oyama, took over. Young (adolescent) men were preferred for women's roles due
to their less masculine appearance and the higher pitch of their voices compared to adult men
. In 1673–1841: Golden age
Oniji Ōtani III (Nakazō Nakamura II) as Edobee in the May 1794 production of Koi Nyōbo Somewake Tazuna
the two Kabuki actors Bando Zenji and Sawamura Yodogoro; 1794, fifth month by Sharaku
During the Genroku era, kabuki thrived. The structure of a kabuki play was formalized during this period, as
were many elements of style. Conventional character types were established. Kabuki theater and ningyō jōruri,
the elaborate form of puppet theater that later came to be known as bunraku, became closely associated with
each other, and each has since influenced the other's
1842–1868: Saruwaka-chō kabuki
Male actors played both female and male characters.