Onna Kabuki Stage - 1600
Outdoor kanjin performance area
Temporary square stage (Butai)
1 or 2 Hashigakari leading upstage
to curtained dressing area
Audience on 3 sides
Doma - commoners seated on ground
Sajiki - box seats cost extra
Yagura
Raised watchtowers w/ cloth banners (mon)
Police supervision to combat rioting & drunkenness
Early 17th C. Stage (1600 - 1620)
Outdoor kanjin performance enclosure
Square roofed stage (Butai)
Hashigakari has rotated 90 degrees
Attached to rear of Butai
20 ‘ wide by 10 ‘ deep
Curtains along rear of Hashigakari
Curtained entrance extreme stage right end of Hashigakari
Audience
Doma seating still open air
Sajiki area is roofed
Developments 1650 - 1730
3 influencing factors
Fire, government restrictions & divergence from Noh
Permanent theatre buildings
Frequent fires meant rapid developments
1656 - Edo (Tokyo) becomes center of Kabuki
1677 - 1st permanent roof
1685 - 2 story Sajiki
1700 - wider Hashigakari; side stage added
1710 - Tsukebutai fore-stage added
1714 - Fires & lamps prohibited
1730 - Hanamichi (Flower path) introduced
Late 18th C.: 1750 - 1800
Hikimaku added - conceals stage before show
Red, green & black striped curtain
2nd Hanamichi added
Perimeter passageways from backstage
Elaborate technology
Turntables, trapdoors, under-stage passageways
Intensify actor / audience bond
Scenery, entrances & exits on Butai & Hashigakari
Most acting on Tsukebutai & Hanamichi
Hanamichi divisions (10)
Shichi San (7/3) - with trap or elevator at Suppon
Formal roof (from Noh stage) eliminated
Fly system introduced
19th C. Kabuki Stage
Turntable & ring system
70 to 90 ‘ stage width
Nanori dai (Name-announcing platform)
Added to side of Suppon
2nd Hanamichi
Temporary & removable
Two alternate positions
Kabuki Staging Conventions
Large scenic units - flat profile (not 3-D)
Painted in Ukiyo-e style
Spectacular a-vista changes
Noisy intermission scenery shifts
Practical rough wood stage floor surface
Loosely laid floor cloths
Platforming of dwellings at specific heights
Commoners & merchants (1’3”), samurai (2’1”), temple or aristocracy
(2’9”)
Kiriotoshi - fluttering drop
Trap Conventions
Suppon Trap on Hanamichi
Interesting effect - surprise
Not representative of hell
Seriage Traps upstage Butai area
Upstage on Hashigakari
Represent Naraku - Buddhist hell
Actor descends to hell & returns as demon
Character Types
Male - Tachiyaku
Aragoto - rough
Superhuman strength
Poses - Mie
Fierce cross-eyed glare
Wagoto - soft
Lovesick sons of merchants
Female - Onnagata
Villains
Comic characters
