How Theatre Changed Over Time

How Theatre Changed Over Time
This semester in World Theatre we have covered different theatres from all over the world dating back to the beginnings of theatre to the present. We've
studied how theatre is different everywhere in the world and the groups we've gone over the most are Western theatre, Asian theatre, and African
theatre. We have learned about how theatre has changed over time, and that in some areas such as Asia it has stayed the same for thousands of years.
Each theatre has its own style and each have set of elements that define what the theatre is truly about. In this paper I will be writing about what
elements and pieces of each theatre that we have learned about that I believe together would form a type of theatre that would be a universal and
would work in any given culture. After learning about the many different theatres that are in the world, I have decided on the genre that I ... Show more
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Any theatre that you study or watch has a set of elements that when combined create the style you are watching. An important element that I feel is
definitely universal is music. Music has been around for as long as history can date back. Music can appeal to all ethnicities around the world. Music
can be either a tap on a wall, a noise made by the actor, or a tune made by some sort of instrument. They all come together to give the audience a sense
of relief. Music gives the production some sort of suspense. A production without music can become tiresome and the audience can become less
enthused about the production. When the production has music, the audience becomes more intrigued and they are more entertained than without it.
Music has a way of communicating with the audience without words, whether it's through the pitch or from the tone. Music is complex, it flows and
balances with the plot and theme of theatre. I believe that music is a must have element for a universal theatre because it is used every around the
world, and I feel people need
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Comparing The Bacchae By Euripides And Zeami
Plays from around the world have similar situations and characters; but what a play different are the cultures and regions the plays are performed and
written in. This affects the structure and the stages of the plays; examples of this are Noh Theater and Ancient Greek Theater, both different but have
some similarities. Euripides and Zeami both apply different techniques in their theater ways, but both help apply each theater practice a way to make
the audience more reactant of the characters, the story, and the stage. In example, The Bacchae by Euripides and Atsumori by Zeami are similar in how
both use influences of their belief system and integrate in the play, however they are different culturally and they both have distinct stages for ... Show
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In The Bacchae, there are many places and a lot of chaos, for examples we have the forest, than the city, we have Pentheus' castle, the jail cell of
Dionysus, and so on, and this makes it difficult to set a certain point of movements on stage. According to Oranje, Euripides made it to have two
contrasts of space. The first is the city of Thebes and its surrounding region (which is Pentheus' castle) the contrast of this would be the distance space
of recognizing Dionysus as a God (Oranje 146). The second is more Thebes vs. the wild, where the Bacchae are in the mountains, there more reckless
and irrational, and the city is more stable and rational. This is therefore put in perspective on stage; an example is the scene where the Bacchae murder
Pentheus the movement must be very rapid and it may be interpreted in many different ways. When the play was performed during Euripides time
might have not had a lot of movement, but mostly symbolic actions, especially when Agave, shows the head of Pentheus and shows it to the chorus and
Cadmus. This play has been performed over the years and each has a different interpretation and movements and example is this http://youtu.be
/LnHm3IPmpuU performance where they have converted the play into a musical. Such things however aren't followed in Atsumori; it has stayed to its
traditional movements. In Noh theatre the movements of the actors are kept in

History Of Roman And Greek Culture
"It is the constant aim of the management to prevent the use of a single word, expression, or situation that will offend the intelligent, refined and
cultured classes" (Stein 23). This is the motto of 'Mr. Chase's Original Idea: Polite Vaudeville,' a then unheard of yet soon widely popular subcategory
of vaudeville theater in the early 1900s until the 1930s. In many places and in many time periods in the world, it is found that theater is not only
considered prominent in culture but is often integral. This can be seen especially in ancient Roman and Greek culture, as the combination of theater,
music, and dance were significant.
Rome has been a place of passionate, bustling life for more than 2,000 years. This trend started when the huge city was founded in 753 B.C.E. Theater
has been an essential part of Roman culture since this time, and expressive plays and musicals were performed regularly. Roman plays were often
performed in temporary wooden theaters in earlier times, until Gnaeus Pompeius Magnus, better known as Pompey the Great (a military and
bureaucratic leader), built the first stone theater in Rome. This theater, known as the Theatre of Pompey, could hold up to 11,000 spectators and was
hugely popular during its high point. The theater was built in 55 B.C.E. and is considered the first permanent theater built in Rome. Two stone theaters
were built after that: the Theater of Balbus and the Theater of Marcellus, both built in 13 B.C.E. and capable of holding up to

Ancient Greek Theatre Analysis
Theatre History Ancient Greece In ancient Greece the Theatres were split in 3 major parts. The Orchestra, The Skene or stage, and then the main
theatre segment which was called the Koilon. The Orchestra was placed in the middle of the theatre in a circular pattern. They had a Thymeli
placed in the middle of the Orchestra, the Thymeli was used as an altar and later was were the chorus stood. The side of the Skene faced the
audience serving as a background. The Skene had as many as three entrances for actors. Ib between the Skene and the seats, there are two entrances,
one on the right and left which was called the Parodoi. The roof of these ancient greek theatres was flat and it was called the Theologian. The
auditorium of the theatre was shaped in a semi circle which was divided in two Diazoma, upper and lower. The indoor theatres were called Odeia.
The Athenian Theatre plays were focused on the god Dionysus the god of wine, fertility, and agriculture. The Greek theatre had loud music, bright
colors, and extensive dancing. These plays showed violence and daily life, social and ethical plays, war, murder, lust, and betrayal. Many
playwrights were Sophocles who was born in Athens the year of 496 B.C. and he wrote over hundred plays for Athenian theatre and only seven have
survived to this day. Another man who wrote plays was a man named Aeschylus, he was born in the city of Eleuis and was born in 525 B.C. and
wrote about 90 plays, and once again he too

Examples Of Socio Cultural Analysis Of Japan
Socio–Cultural Analysis of Japan
Sgt. Oly Magofna
Army Leadership Course Socio–Cultural Analysis of Japan
Culture comes from the Latin word "cultura" which means to cultivate (Rosel, 2014). Culture is the base of a society. It is a heritage passed on from
one generation to another. Culture includes all the behaviors in a social life. We are born into an environment in which we seek ways on how to act and
behave in a given society (Farooq, 2011). Culture presents itself in forms of art, literature, clothing, customs, language and religion (Rosel, 2014). There
are many characteristics of culture. Culture is learned. When an individual grows into an environment he or she learns the different demeanors of that
culture by interacting ... Show more content on Helpwriting.net ...
Highways consists of 1,152,207 kilometers and 6,114 kilometers of expressways ("Japan–Infrastructure," n.d.). Japan's railways are 23, 670 kilometers
and well known for its high–speed trains. The nation is surrounded by water and has an impressive sea transportation system. Sea transportation
includes up to 22 ports and harbors. Japan also has a huge merchant marine fleet which is used for trade and receiving products such as raw materials
and fuel ("Japan–Infrastructure," n.d.). Air transportation system consists of 171 airports with 140 of them with paved runways and 14 heliports. The
major international airports are Narita, Kansai, Kyoto and Osaka ("Japan–Infrastructure,"

The Power Amongst The Noh Theatre
The word Noh is derived from the Sino–Japanese word for "skill" or "talent", which is exactly what theatre brings to an audience, whether it is a show
off of Broadway that everyone knows and loves, or a local high school production of a new play or a world premiere no one has ever heard of. The
Noh plays of Japan have been compared to the greatest of Greek tragedies for their meaningful, powerful poetry and splendidness of emotional
intensity. The Noh Theatre is a major form of classical Japanese musical drama that has been performed since the mid–14th century. "Stemming from
the popular entertainments in Nara during the Heian period (794–1185), in conjunction with various ritual offering dances, Noh was created during the
latter half of the Kamakura period (1185–1333) and the early part of the Muromachi period 1336–1573" (Introducing the World of Noh). This old
tradition of theatre is still relevant and can still be performed today. But what really brings towards the power amongst the Noh Theatre? Is it the
costuming and the masks that the performers would often wear? Is it the design of the set and the plot of the story that makes plays so intriguing? Is it
the sounds of the musical instruments played on–stage along with a chorus or underlying vocals to back things up? With all of this power from the
Noh theatre, there must be a "key" aspect that keeps everything held together without the famous Japanese theatre from falling apart and what makes
the theatre feel so real.

Budismo
Budismo
Ang Budismo o Budhismo (Sanskrit: Buddha Dharma, nangangahulugang: "ang landas o batas ng naliwanagan o ng gising") ay isang relihiyon at
pilosopiya na nakatuon sa mga aral ni Buddha ЕљДЃkyamuni (SiddhДЃrtha Gautama), na marahil namuhay noong ika–5 siglo BCE. Kumalat ang
Budismo sa buong lumang sub–kontinente ng Indya sa limang siglo pagkatapos ng pagkamatay ni Buddha, at naikalat sa Gitna, Timog–Silangan at
Silangang Asya sa sumunod na dalawang milenyo. Ngayon, nahahati ang Budismo sa tatlong pangunahing tradisyon: TheravДЃda (Sanskrit:
SthaviravДЃda), MahДЃyДЃna, at VajrayДЃna (uri ng Budismo sa Tibet). Nagpatuloy ang Budismo na mang–akit ng mga tagasunod sa buong mundo,
at, kasama ang mga 350 milyong tagasunod, tinuturing ito bilang ... Show more content on Helpwriting.net ...
She stood as the icon of peace, love and compassion. Siya ay tumayo bilang ang icon ng kapayapaan, pagmamahal at pakikiramay. Her determination
to serve the poor and needy fetched her about 124 prestigious awards, including 'Padmashree Award' (in 1962 from the President ofIndia), 'John F.
Kennedy International Award (1971), 'Bharat Ratna' , 'Order of Merit' from Queen Elizabeth, 'Nobel Peace Prize' (1979), The Pope John XXIII
Peace Prize', 'Medal of Freedom' (the highest US Civilian award) and many more. Ang kanyang mga pagpapasiya upang maglingkod sa dukha at
mapagkailangan kinuha siya tungkol sa 124 prestihiyosong parangal, kabilang ang 'Padmashree Award' (sa 1962 mula sa Pangulo ng Indya), 'John F.
Kennedy International Award (1971),' Bharat Ratna ',' Order ng merito 'mula sa Queen Elizabeth,' Nobel Peace Prize '(1979), Ang Pope John XXIII
Peace Prize', 'Medal of Freedom' (ang pinakamataas na US na sibilyan award) at marami pa.
Mahathir mohammad
Tun Dr Mahathir Mohammad, ang ika–apat na Punong Ministro ng Malaysia ay ang Great Pahayag ng Malaysia. Many may agree with me and many
may disagree with me. Maraming mga maaaring sumang–ayon sa akin at maraming maaaring hindi sumasang–ayon sa akin. Everyone is free to have
his or her own opinion towards Tun Dr Mahathir .As a normal human being Tun Dr Mahathir certainly has good as well as bad qualities. Ang lahat ay
libre na magkaroon ng kanyang sariling opinyon

The Four Pillars Of The Japanese Theater
Japanese theater has four main pillars of the classical theater consisting of, Kabuki, Noh, Kyogen, and Bunraku Puppet Theater. They all have deep
roots, the longest of them being Noh, dating back to 1363, after the Prince Shotoku converted to Buddhism, and Kan'ami and Zeami refined the court
arts and created Noh (Mitchell 239). Following Noh came Bunraku, emerging during 1603–1867 (Mitchell 240). Bunraku was very popular until
Kabuki came out, in the late 18th century, and overcame the many accusations against the art (Mitchell 242). The interesting thing about Japanese
theater is that its focus is strongly on tradition, and being so it is passed down from the elder people of the generation to the younger so that they can
keep the theater... Show more content on Helpwriting.net ...
In the mid 1800's Kabuki Theater tried to make a revival, and they did, yet it was not as strong as it once was because they tried to incorporate a
multitude of Western culture into the theater (Japan Fact Sheet). Once they found a happy medium between the traditional culture and the modern
culture with writers such as Okamoto Kido and Mishima Yukio, who were not previously involved in Kabuki, Kabuki began to grow in popularity
again (Japan Fact Sheet). Kabuki today closely resembles the a close family of actors in the hierarchy, the staging of past plays (Japan Fact Sheet).
Kabuki has a strong alliance with the famous celebrities, and they are often found on the stage (Japan Fact Sheet). Noh Theater is known as
characteristically simple (Introducing the world of Noh). There are no sets or props on the stage, and to keep it simple the Noh stages have no
curtains to separate the audience from the actors (Introducing the world of Noh). This has stayed the same throughout most of the history of Noh
(What is Noh?). In noh, there is also a sense of unity throughout, all of the Actors and ensemble are always on the stage together, they function as one,
all the actions that they perform on stage are simple (What is Noh?). A main aspect of Noh is the masks that the actors use. They are called "Hannia"
they are an extension of the actor and become the face that the audience sees (Noh Masks). Noh theater was founded

Ancient Greek And Ancient Theater In Ancient Greece
Theater in Ancient Greece Back in ancient greece plays started out as a tribute honoring greece gods, a god named Dionysia. Theater back then
was very different from how it is for us today. Back then only three people were allowed to perform onstage as time went on more silent acting
parts were being allowed. The limit of performers at a time was a real bummer for those looking to be more involved in theater. Chous was
becoming a lot more popular at the time because people were looking for an alternative to somehow be involved in theater anyway they can.
Audiences and stadiums were so big at the time that in order to see an actor's face the masks that the actors wore were very drastic. Mask making
was a very clever art of its own because not only were they well designed and exaggerated, but they were also made in such a way that the masks
actually projected the voice of the actors so people in the stadium could hear them. Now although this helped much the stadiums were also cleverly
constructed to project the actors voice as well as gestures, also made very exaggerated so people could see. Medieval Time Plays In medieval times
plays were very different from today's standard play anyone can go see. There were also different kinds of plays performed much like genres called
today. There were different kinds of these genres one being Mystery plays these were played specifically off of bible scripture. They were pretty
clever on the fact that they ended the play at a

Analysis Of The Film ' The Same Device '
The same device is used by Fellini to flesh out his protagonist, Guido for the audience and much of the film's attractiveness lies in the identification of
the audience with him through the interior journey that they take with him through his experiences, memories and fantasies which have made him
what he is and the state he finds himself at that time. Washizu's fearful reaction to Miki's ghost that he sees during a banquet in the latter's honor which
is the same time that he has him killed drives home the point that there the struggle with the consequences of unethical actions is not so much external
as it is internal. Washizu's path to the lordship of Spider's Web castle is littered with blood and dead bodies. Asaji's succumbing to
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Desire or ambition should, therefore, be tempered, keeping this truth in mind. This is also conveyed through the opening and closing shots of the mist
and the castle ruins, symbols of impermanence with a choir singing in the Noh style: "Look upon the ruins of the castle of delusion; Haunted only now
by the spirits of those who perished; A scene of carnage, born of consuming desire; Never changing, now and throughout eternity." Pertinently, this
means that men and their creations will come and go, but their desire remains constant, consuming all in its wake. As such, whether it is Macbeth in
Shakespeare's play or Washizu in Throne of Blood, the consequences of unbridled, avaricious and unethical desire will always have the same effect
through all human history and the ruins of Spider's Web Castle stand as one testament to this everlasting truth. In the banquet sequence, the lesson
about the karmic consequences

The Moon Watching Blind Man Summary
Joseph Yamaguchi
Ancient Comedies
11/18/17
The Moon–viewing Blind Man, Easter and Western Thought
Are humans' animalistic savages or have we evolved long enough to have shed our animalistic nature? Has society created separation between
individuals so great that we have resorted to our animalistic nature of fending for ourselves or has it always been there? Questions that make us rethink
our stance on who we really are. In philosophy, the animalist doctrine states that humans are animals in their essential identity and are persons only
through their contingent properties. This idea affects man and makes us question our own existence and progress in our daily lives. This duality of
man, animal and human aspect such as compassion and thought. can be further extended to Nietzsche idea of the Apollonian and Dionysian sides of
man and the influence this idea had on the development of modern philosophy pertaining to existentialism. This dichotomy of the multiple sides of
man would appear in the philosophical movement of Edo Neo–Confucianism, one of the main philosophy of the later Azuchi–Momoyama period
through the Edo period, as well as showing a connection in both eastern and western philosophy. This idea of the dualism of man is shown in the
Kyogen "The Moon–viewing Blind Man" where the playwright displays this idea of man's internal struggle between the Apollonian side in contrast to
one's Dionysian side and how one can digress to a primitive state when the eyes of

Modern World 's Longest Lasting Forms Of Theatre
Imagine, you are sitting in your seat, patiently for a play to begin. The lights have not been dimmed and nor will they be. Everyone is quite and
takes in the set. The play you are about to watch is a Noh play, so unique to Japan and one of the world's longest lasting forms of theatre. It could
even be said that this type of theatre is an important link between the classic plays of Greece and the poetic drama of modern Europe.
Noh plays on performed on a square platform supported on pillars, covered with a temple–like roof, open to the audience on three sides, and the stage
connects to a green room by a corridor where three small pines trees are placed alongside it. On the platform is where the action takes place, with a
painted pine tree. ... Show more content on Helpwriting.net ...
The chorus usually ranging size seats on the floor, off to the right. The actors, who are highly trained through rigid rules governed by an unchanging
tradition, dictating how to act out each accent and gesture. When they speak, it is accompanied by soft music. Due to the actors all being male, When a
role required a female or supernatural being, the all male cast would utilize the famous masks, while wearing the exquisite costumes that exemplified
Japan's medieval fashion.
Despite Noh plays lasting about an hour; the whole performance took up the whole day. Within the day, several Noh plays would be performed with
kyЕЌgen plays, which were short, humorous plays spoken in the language of the time without the chorus, in between each.
Each Noh play is essentially the same in structure. Beginning with the appearance of a traveler, sometimes a priest, who announces himself and
purpose of his travel. When crossing the stage, the chorus describes the scenery and the emotions of traveler. The supernatural appears in a certain
spot on the stage, eager to seek an opportunity to tell of its own sufferings. Then the play begins to unfold in explaining an ancient legend that has
sanctified the ground of which the play is present on. The story is revealed through dialogue as well as through the chorus. Nearing the close, the
traveler prays for a repose of the supernatural, whose history has been just revealed. The

Greek Theatre And Theater
1. Think about our time period in this class (411 BCE – 1746). What are some historical and cultural reasons you think made some people hate and
write against the theater?
People believe in unscientific things such as God and Goddess. The theater, the acting at that time had been tread as lying and which might be the
blasphemy. Therefore from church, society, community, and union, actors and play writer had been seen as they against their Gods or create the chaos.
Of course not everyone one at that time had the same thought. Some of the ancient people admired theater and accept it; also the writers and actors
also thought some good excepting which could make people agree with them and accept theater. For example, they put some religion into

Yuan Dynasty Theater
During the Yuan dynasty china was ruled by the Mongols, which also in a way helped Chinese's theater develop. According to Edwin Wilson "with
the coming of the Mongols, many of the literati were no longer employed by the government and took up literary and theatrical work to make a
living. In this way, high art and tradition met (Wilson, 2016.) The Mongols ruling over china, in a way is a good event that happened to china. During
the Yuan dynasty, Zaju, a form of drama was created. Zaju consisted of many genres fromlove, religion, romance, history, crimes, lawsuits, dramatic
and social themes that consisted of four acts with a lot of music. The stage was very simple and consisted of a bare stage with two doors on each
side at the rear and a painted cloth hanging between the doors, with no roof over the stage. The actors were seen as professionals, both male and
female. Two plays that were very popular during the Yuan dynasty are The Orphan of Chao and The romance of the... Show more content on
Helpwriting.net ...
The origin of Japanese theatre was influenced and developed around Shinto (or the way of the gods), a religion that worshiped nature and spirit.
Japanese theatre was also influenced by the religion of Buddhism "which was more sophisticated then Shinto in both ritual and doctrine" (Wilson,
2016.) Both Shinto and Buddhism where a major impact in the influence and development of Japanese theater. The first great period in Japanese
theater occurred in the fourteenth century with the development of No one of three principal forms of traditional Japanese theatre. No was basically
Japanese drama combing dance, music, and lyrics with serious scholarly pursuits. What was fascinating about No was that actors where trained from
childhood and become experts in singing, acting, dancing, and mime. The major roles in a No play consisted of a Shite (Main character), Waki
(supporting character), Tsure (accompanying role), and Kyogen (comic character) (Wilson,

The Noh Theater
Imagine two mimes wearing masks and colorful robes, the image would not be too terribly far off from a common Noh play. Originating in Japan
during the fourteenth century, the Noh Theatre uses few actors wearing colorful clothing and depictive masks to perform beautiful plays pertaining to
the afterlife. Due to the dark times it came from and the sad way it was performed, Noh Theatre is one of the most dramatic of its time. O'Donnell states
the origins of Noh start in the Muromachi period of Japan, which began in 1338 when Takauji overthrew Go–Daigo as shogun, the ruler of Japan. This
period lasted from 1338–1573 and is known for its military conflicts and intrigue. During the first 50 years of this period the north and south were
segregated, until the south agreed under the rule of a single shogun. In those 50 years multiple earthquakes struck Japan, draught and famine, and two
new diseases swept the nation killing thousands. In 1370 Yoshimitsu had taken the title of shogun, introducing trade with China and forming new
social classes. The prosperity did not last long as the power struggle for shogun began the Onin War in 1467. After its resolution smaller battles
continued between those who wanted power and money, as many shoguns spent time for their own good instead of governing their people (O'Donnell).
Using two types of plays, sarugaku, which was mimicry, and kagura, religious theatre; it is from these dark times that Kannami and his son Zeami
created Noh theatre

An X-Ray of Japan
Japan is located in East Asia. It is an Archipelago, or group of islands, that extends into the Pacific Ocean. It lies between 24 degrees to 46 degrees
north latitude and from 123 degrees to 146 degrees east longitude. It is East of Korea and separated by the Sea of Japan and East–Northeast of China
and Taiwan, separated by the East China Sea. Japan's territory is approximately 377,923.1 sq mi. According to the October 2010 Census, Japan's
population was larger than it has ever been at 128,057,354. March 2012 census states that the population was approximately 157,650,000. Recently
passed years, Japan has experienced population loss due to the rise of failing birth rates and decline of immigration rates. The main language of
Japan is Japanese. Its writing consists of character sets that are derived from Chinese writing. One is Kanji, which is several thousands of Chinese
characters, Hiragana and Katakana, which together are called Kana. These are much simpler than Kanji, only having 2 syllables consisting of 46
characters each. The capital of Japan is Tokyo. According to www.citymayors.com, Tokyo is the largest city in Japan and the most populated. It is
followed by Yokohama, Osaka, Nagoya, Sapporo, Kobe, Fukuoka, Kyoto, Kawasaki, Saitama, Hiroshima, and Sendai. The Japan National Tourism
Organization (JNTO) states that seven out of ten of Japan's tourists'

The Drama And The Performance Background Of Japanese Theatre
In the following essay I will illustrate the story of Kabuki by discussing, the drama and the performance background of Japanese theatre. At first,
Kabuki was the theatrical art that developed during the Tokugawa period between 1600 and 1868. However, Kabuki is one of the four great art
forms of Japanese theatre and is more accurately considered as the ' 'Traditional stage art of Japan ' ', (Inoura and Kawatake 2006, p. 133). In the early
17th century, the origins of Kabuki were in the songs and dances of a woman named Okuni. Okuni Kabuki was the earliest dramatic amusement that
was designed to entertain the ordinary people in Japan. The aesthetic spirit of the dances proved to be too unruly for the government and in 1629
forbid the women of Japan from performing. Older men undertook the roles of the women, developing into an appearance entirely of men
entertainment that has passed until today. By the early 18th century, Kabuki became a standard art form that was in a place of a serious, dramatic
performance of truly moving situations. However, Kabuki became the people's theatre and gave a bright commentary on contemporary society, (Inoura
and Kawatake 2006, p. 217–222). Regarding to the play, Kabuki creates a contrast flanked by the historical and the domestic play. The program of
Kabuki usually presents them in that order, split by one or two dances plays that characterized by ghosts, and further exotic creatures. At the end, there
is an energetic dance piece

Greek Theatre History
Theatre has been an evolutionary cultural superpower since the beginning of Greek theatre to the society impacting shows of Broadway. Although
theatre is all the same, each social cultural construct twisted theatre into it's own tradition and values. Greek theatre for example used theatre to honor
the gods; Dionysus in specific. Compared to Roman theatre where the Romans love to used comedy, and spectacle. Japanese theatre however, has a
long rich history and was twisted to the Japaneses traditions and works.
There are four main types of traditional theatre in Japan: Noh, Kyogen, Kabuki, and Bunraku. Each form is very distinct and unique from each other.
Noh theatre also known as Nogaku is a form of musical drama. Derived from the Sino–Japanese ... Show more content on Helpwriting.net ...
Translated as "the art of singing and dancing" some people interpret Kabuki as "bizarre and shocking." Unlike Noh, Kabuki used more lively
tactics to entertain it's audience using wild costumes, fireworks and real swords in sword fighting. Kabuki first started in 1603 when Izumo no
Okuni, a shrine maiden began performing a new style of dance. The style immediately grew popular and Okuni was asked to perform for the
Imperial court. Rival troupes then formed and Kabuki was born. Since Kabuki was a women on performance, performers were also available to
prostitution. With performances going from morning to sunset, Kabuki became a common form of entertain in the 1600s and is argued that Kabuki
started pop culture in Japan. It wasn't till the Shogunate disliked Kabuki for being to erotic and open to prostitution, it was banned in 1629. Young
boys then played in Kabuki, but was banned as well due to the young boys being eligible for prostitution. Kabuki then switched to male actors in the
mid 1600s and when back to it's traditional ways of males playing both male and female roles. The Genroku era (1673–1841) became the golden age
of Kabuki theatre. The structure of Kabuki was formalized and coventail characters types were established. A Kabuki stage features a projection
called "Hanamichi",a walkway that extends out to the audience and allows entrances and exits to be made. A curtain that shields the stage before and
during breaks is in traditional colors of black, red , and green. White also can replace the green if needed and is one continuous piece of fabric. An
additional curtain called a "doncho" depicts the season the performance is taking place, but wasn't used until the Meiji Restoration. Kabuki stages have
gotten more technology advance unlike Noh stages which stayed the same. Trap doors and revolving stages were introduced in the eighteenth century
and stage tricks

How Theatre Changed Over Time

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