Uma das formas mais representativas das artes teatrais japonesas chama-se 'kabuki'. Seu início remonta o final do século XVI e através de um gradativo aperfeiçoamento extensivo e contínuo chegou ao atual estado de refinamento clássico. Embora não podendo se comparar ao esplendor de antanho, o teatro 'kabuki' goza de uma ampla popularidade no seio do povo, levando ainda nos dias de hoje, um invejável púplico a seus espetáculos.
Durante o períodonormalmente chamado de 'Era Yedo', no curso do qual teve lugar o desenvolvimento o 'kabuki' foi observada com mais rigidez a distinção entre a casta guerreira e a plebe, do que nos outros tempos da história japonesa.
Os mercadores daquela época cultivaram os costumes da arte do 'kabuki', tornando-se assim cada vez mais fortes sob o ponto de vista ecônomico, mas mesmo assim tiveram que continuar em posições de inferioridade social, porque pertenciam à classe plebéia. No ponto de vista deles, o 'kabuki' foi, porventura, como meio artístico, a mais importante e significante maneira para manifestar suas emoções sujeitas a tais condições sociais. Assim sendo, os temas do teatro 'kabuki' variavam entre os conflitos da humanidade e o sistema feudal.
Graças a principalmente esta qualidade humanística, o teatro conquistou uma popularidade tão grande e tão duradoura que em geral daquela época até os dias de hoje se mantém e permanece com glórias e qualidades que nunca sairão de cena e encerrarão o espetáculo.
O sentido etimolígico da palavra 'kabuki' é oblíquo. Posteriormente, chegou a ser usada para indicar qualquer inclinação acentuada para certos gostos. O que se conhecia de drama 'kabuki' era a sua forma mais antiga, ou seja, uma espécie de rápido dramalhão em que os principais personagens eram cantores e dançarinas.
Para a época, um espetáculo desses supostamente teria uma dose excessiva de enfática sensualidade em suas arrojadas representações e danças, daí o público lhe ter dado o nome de dança 'kabuki'. É conveniente recordar que este espírito 'kabuki', em seu sentido original, "excêntrico", desenpenhou um papel essencial como uma subcorrente sempre importante através do desenvolvimento da arte dramática do 'kabuki'.
A única característica da arte 'kabuki', e talvez a mais significativana conservasão do invulgar espírito 'kabuki', é o fato de que não utiliza absolutamente, qualquer atriz, ou seja, todos os papéis femininos são representados por elementos masculinos chamados 'onnagata'. Como foi mencionado acima, os atores do drama 'kabuki', em seu estado primitivo, eram principalmente mulheres, e a maioria dos espectadores naquela época estava realmente mais interessada na beleza das atrizes, do que suas representações no palco.
Com a grande popularidade do teatro 'kabuki', as artizes começaram a despertar a atenção indevida do público masculino. As autoridades compreenderam que tal situação resultaria em uma séria desmoralização do público para com o teatro, então em 1629 foi oficialmente proibida a apresentação de mulheres em palcos teatrais.
Por outro lado, como o 'kabuki' já conquistara seu espaço definitivo no seio da população como uma forma de arte, os atores masculinos imediatamente assumiram os papéis femininos tendo continuado até os dias de hoje. Com proibição de atrizes que durou virtualmente cerca de 250 anos, o 'kabuki' se desenvolveu e levou à perfeição a arte de 'onnagata'. Ao final desse episódio quando houve a suspensão dessa interdição, já não havia mais lugar para as atrizes no 'kabuki'. Por demais, a arte de 'onnagata' se tornou fundamental e essencial no 'kabuki', que se o espetáculo fosse privado desse elemento, a sua tradicional qualidade estaria perdida para sempre.
A palavra 'kabuki' como arte teatral é exprimida habitualmente em três caracteres chineses, ka, bu, ki, significando respectivamente dançar, cantar e representar. Estes caracteres são equivalentes fonéticos aplicados posteriormente à palavra original japonesa, e são uma adequada descriçao da arte 'kabuki', visto que, por sua vez tendo origem dramática, é mais bem definida como uma arte teatral totalmente composta de elementos musicais e dançarinos.
Outra grande característica do 'kabuki', que teve sua origem por volta do século XVI é sua tendência de teatro extenso e acumulativo, ou seja, ele reune parte de todas as formas teatrais existentes anteriormente no Japão.
Entre as partes tradicionais das quais o 'kabuki' extraiu técnica e repertório, encontram-se o drama 'Noh' e a peça 'Kyogen', que é o interlúdio cômico apresentado entre as representações de 'Noh'. Nos dias de hoje, o número de japoneses que apreciam o 'kabuki' e muito maior que os fãs de 'Noh', mas as representações de 'kabuki' adaptadas do 'Noh' ou inspiradas por este, gozam de grande popularidade, constituindo uma parte essencial do repertóriocompleto do 'kabuki'.
Outra fonte da qual o 'kabuki' tomou emprestado grandes repertórios, foi o teatro de marionetes freqüentemente chamado de 'bunraku', cujo o desenvolvimento iguala-se mais ou menos ao do 'kabuki' ao mesmo tempo inicial. Em 'kabuki', a importância primordial tem sido colocada no ator antes que em quaisquer outros aspectos de arte, como seja por exemplo, o valor literário de uma peça.
Durante o início do século XVII, alguns grandes escritores inclusive Monzaemon Chikamatsu, denominado de "Sheakespeare do Japão", deixaram o 'kabuki' com o domínio de seus atores e voltaram ao teatro de marionetes onde seu gênio criador era mais ou menos ilimitado. Como resultado disso, surgiu uma época em que o 'bunraku' sobrepujaram os atores e o teatro de marionetes tornou-se mais popular que o 'kabuki'. Para retomar a frente e vencer essa batalha teatral, o 'kabuki' abusou mais uma vez de sua qualidade acumulativa e adotou virtualmente todas as peças teatrias de marionetes, assim sendo, nos dias de hoje, mais da metade das representações convencionais de 'kabuki', com exceção de um grupo de dramas dançantes, são de origem 'bunraku'. O derradeiro exemplo do 'kabuki', na sua avidez de tudo abraçar, veio ao final do século XIX, quando foi adicionado a esta a esta arte um elemento de realismo literário.
Até a aparição do 'kabuki', o povo japonês nunca havia visto teatro de tanto colorido, fascinação, excitação e extraodinário. Nestas condições, talvez nenhum teatro no mundo poderá superar o drama 'kabuki'.
Interpretação do teatro de 'kabuki':
O teatro 'kabuki', revela-se de forma mais efetiva na interpretação, mesmo tendo a beleza "formalizada" constituindo um dos princípios estéticos nos quais apoia-se, o mais importante aspecto de 'kabuki' prepara um papel numa peça clássica, é costume começar a estudar o estilo-modelo aperfeiçoado por seus antecessores. Semelhante estilo-modelo, embora fosse feito originalmente para produzir uma representaçao realística, tem sido muito formalizado, tornando-se simbólico no decurso do desenvolvimento de 'kabuki'. Assim, mesmo na peça realística de 'kabuki', os mais insignificantes gestos estão freqüentemente mais próximos da "dança" do que da "ação", ou seja, todos os movimentos são acompanhados de música.
São notados muitos casos em que a simbolização é levada ao ponto de abstração, de tal sorte que a ação formalizada do personagem não é mais relevante, e chega mesmo a entrar em conflito direto com qualquer interpretação racional do papel.
Para atingir este príncipio de beleza formalizada, dentro deste universo teatral, uma técnica especial 'kabuki' foi desenvolvida e batizada de 'Mie', e é importantíssima e fundamental. Ela é usada em certos momentos culminantes ou ao final de uma representação clássica pelo principal ator, que num certo momento, como numa pintura, congela sua própria imagem, olhando fixamente e cruzando seus olhos. Este único tipo de ação é um exemplo da tendência do 'Kabuki', para por ênfase máxima na beleza estatuária.
A formalização também é característica do aspecto vocal da ação do 'kabuki'. Mesmo na peça essencialmente realística e doméstica, a norma de falar não é natural, caracterizando-se por uma elocução idealizada. Assim os esboços em peças de 'kabuki', especialmente os monólogos longos, possuem uma cadência fascinante, um meio caminho entre o canto e a conversa comum. Tal circunstância é ainda mais real quando, como se ocorre muitas vezes, os diálogos e os monólogos são recitados com acompanhamento de música. Tudo isso faz com que a ação coincidente no palco se tome ainda mais rítmica, e o movimento pareça uma forma modificada de dança.
Arranjo de cor no Kabuki:
A beleza espetacular constitui outra característica fundamental do drama 'Kabuki'. Na verdade, o cenário, o vestuário, e a maquilagem no 'kabuki', são mundialmente conhecidos, por profissionais da área como sendo os mais pródigos e extravagantes do mundo. Pode-se dizer que até certo ponto a popularidade do 'kabuki' é causada por sua beleza pictórica. O público assiste a esse maravilhoso espetáculo que constitui o seu imponente e rico arranjo de cores , que se desenrola diante de seus olhos, mesmo quando não está convencido da história.
Elementos sonoros:
Como foi dito anteriormente, a música é uma parte fundamental da arte do 'Kabuki'. Embora sejam usados vários tipos de instrumentos, tanto para acompanhamento de cantos como para execução independente, o principal deles é 'Shamisen', instrumento de três cordas, tipo balalaika, tocado com uma palheta. Por esta razão todo o corpo musical associado ao 'kabuki' é considerado como a música de 'Shamisen'.
Numa peça histórica ou doméstica, à medida que a cortina se abre, a música inicia os seus acordes dado cor mais cor e vida a atmosfera inanimada do palco. Os músicos se acham ocultos da assistência no canto esquerdo do palco. A música serve como "motivo condutor" do espetáculo; dá a deixa para a entrada do ator; e com seu acompanhamente, o ator conduz o diálogo e a interpretação. No caso do drama dançante, os músicos aparecem diante do público e a música aparece de forma mais dominante.
A música 'kabuki' é classificada em cerca de 12 categorias, segundo várias escolas. Entre estas, as que são usadas mais freqüentemente na atualidade são: Nagauta, Tokiwazu, Kiyomoto, Gidaiyu, a qual é sempre utilizada num drama adaptado do teatro de marionetes.
Além de música própria, há muitos gêneros de efeitos especiais (instrumentos para efeitos auditivos) empregados em espetáculos do 'kabuki'. O mais típico deles é o toque de matracas assinalando a abertura e o fim do espetáculo. E repetido em compassos rítmicos, separando as notas. As matracas também são usadas como um dos instrumentos musicais de percussão durante o espetáculo.
Teatro e palco para a representação do 'kabuki':
Hoje em dia os teatros 'kabuki' são constuidos, sem exceção, ao estilo ocidental, no que diz respeito à construção, facilidades de encenação e equipamentos. Com tudo, conservaram muitas das grandes feições tradicionais do teatro 'kabuki', tais como "Hanamichi" e "Mawaributai".
Hanamichi, ou rampa de passo-florido: É uma passagem ligando o lado esquerdo do palco com o fundo da sala, através dos assentos dos espectadores e à altura do nível de suas cabeças. Proporciona um caminho para uma entrada e saída dos atores além das passagens disponíveis em ambas alas do palco. "Hanamichi", contudo, serve não somente como caminho, mas também constitui uma parte do palco. Os atores ao entrar ou sair por esta rampa, oferecem muitas vezes uma das mais importantes cenas de sua representação.
Mawari-butai, ou palco giratório: Este, por sua vez, foi inventado no Japão há quase 300 anos, sendo mais tarde introduzido no exterior. Faz mudanças rápidas de cena sem interromper a seqüência do enredo.
Outros aspectos: A parte frontal do palco 'kabuki' é mais baixo e muito mais espaçoso do que a dos teatros americanos e europeus. O palco tem aspectos de um longo retângulo ao invés da forma quase quadrada dos teatros comuns, as cortinas nos teatros 'kabuki' consistem de panos de algodão, de cor vermelho-castanho, preto e verde, e não são levantadas como nos teatros ocidentais, mas puxadas para o lado.
One of the most representative of Japanese theatrical arts called 'Kabuki'. Its beginning dates from the late sixteenth century and through a gradual and continuous improvement extensive reached the current state of classical refinement. Although it can not compare to the splendor of yesteryear, the theater 'kabuki' enjoys wide popularity among the people, leading even today, an enviable puplic to their shows.
During períodonormalmente called 'Edo Era,' in the course of which the development took place 'Kabuki' was observed more rigid distinction between the plebs and the warrior caste, than in other periods of Japanese history.
The merchants of that time cultivated the habits of the art of 'kabuki', thus becoming ever more powerful under the economic point of view, but still had to continue in positions of social inferiority, because they belonged to the commoner class. In their view, the 'kabuki' was, perhaps, as an artistic medium, the most important and meaningful way to express their emotions under such social conditions. Thus, the themes of the theater 'kabuki' ranging from the conflicts of humanity and the feudalistic system.
Thanks mainly to this humanistic quality of the theater won a popularity so great and so enduring that, in general from that time to this day remains and stays with qualities and glories that never leave the scene and closed the show.
The sense of the word etimolígico 'kabuki' is oblique. Later, he became used to indicate any marked inclination for certain tastes. What was known for drama 'Kabuki' was its oldest form, ie a kind of fast melodrama in which the main characters were singers and dancers.
For the season, a spectacle of an allegedly excessive dose of sensuality emphatic in his bold performances and dances, then the public had given him the name of dance 'Kabuki'. It should be recalled that this spirit "Kabuki" in its original sense, "eccentric," desenpenhou an essential role as an undercurrent always important through the development of dramatic art of 'kabuki'.
The unique feature of the art 'Kabuki', and perhaps the most unusual spirit of significantdecrease conservasão 'Kabuki', is the fact that it uses absolutely no actress, that is, all female roles are played by male called 'onnagata' . As mentioned above, the actors in the drama "Kabuki" in its primitive state, were mostly women, and most of the spectators at that time was actually more interested in the beauty of actresses than their representation on stage.
With the popularity of the theater 'Kabuki', the artizes began to attract undue attention from male audiences. The authorities felt that this would result in a serious demoralization of the public to the theater, then in 1629 was officially prohibited the presentation of women in theatrical venues.
Moreover, as the 'kabuki' already won its permanent space within the population as a form of art, male actors immediately assumed the female roles and continued until the present day. With ban on actresses that lasted for about 250 years, the 'kabuki' has developed and brought to perfection the art of 'onnagata'. At the end of this episode was when the suspension of the closure, there was no more place for actresses in 'Kabuki'. For others, the art of 'onnagata' has become a fundamental and essential in 'Kabuki', that if the show were to lose that element, the traditional quality would be lost forever.
The word 'Kabuki' as a theatrical art is usually expressed in three Chinese characters, ka bu ki, meaning respectively dancing, singing and acting. These characters are phonetic equivalents applied after the original Japanese word, and are an adequate description of the art 'Kabuki', as in turn taking dramatic rise is best defined as a theatrical art consisted entirely of musical elements and dancers.
Another great feature of 'kabuki', which originated in the sixteenth century is its tendency to extensive theater and cumulative, that is, it meets part of all previously existing theatrical forms in Japan
Among the shares which the traditional 'kabuki' extracted technique and repertoire, are the drama 'Noh' and part 'Kyogen', that is the comic interlude presented between the representations of 'Noh'. Nowadays, the number of Japanese who enjoy the 'kabuki' and much greater than the fans 'Noh', but the representations of 'kabuki' adapted from 'Noh' or inspired by, enjoy great popularity, constituting a repertóriocompleto essential part of the 'Kabuki'.
Another source from which the 'kabuki' borrowed large repertoires, it was the puppet theater, often called 'Bunraku', whose development equates roughly to the 'Kabuki' to the same starting time. In 'Kabuki', the primary importance has been placed on the actor rather than on any other aspects of art, such as for example, the literary value of a piece.
During the early seventeenth century, some great writers, including Monzaemon Chikamatsu, called "Sheakespeare Japan," left "Kabuki" with the domain of its actors and returned to the puppet theater where his creative genius was more or less unlimited. As a result, there was a time when the 'Bunraku' overshadowed actors and the puppet theater became more popular than the 'Kabuki'. To return to the front and win this battle theater, the 'kabuki' abused once more its quality and cumulative adopted virtually all of the puppet plays, therefore, today, more than half of the conventional 'kabuki' except for a group of dance-dramas are of 'Bunraku'. The ultimate example of 'kabuki' in her eagerness to embrace all came at the end of the nineteenth century, when this was added an element to the art of literary realism.
Until the appearance of 'kabuki', Japanese people had never seen theater of such color, fascination, excitement and extraordinaire. Accordingly, if any theater in the world can surpass the drama 'Kabuki'.
Interpretation of the theater of 'kabuki':
The theater 'Kabuki', it is more effective in interpretation, even though the beauty of formalization poses one of the aesthetic principles on which it is based, the most important aspect of 'kabuki' preparing a paper on a classical piece, is customary to begin studying the model style perfected by his predecessors. Such a model style, although it was originally made to produce a realistic representation, has been highly formalized and became symbolic during the development of 'kabuki'. Thus, even in part realistic 'Kabuki', the most trivial gestures are often closer to "dance" than "action", ie, all movements are accompanied by music.
There are many cases in which the symbolism is brought to the point of abstraction, to the extent that the formal action of the character is no longer relevant, and he even comes into direct conflict with any rational interpretation of the role.
To achieve this principle of formal beauty, within this universe theater, a special technique 'Kabuki' was developed and named 'Mie', and it is very important and fundamental. It is used in certain moments or at the end of a classic representation of the principal actor, who at one point, like a painting, hang your own picture, staring and crosses his eyes. This unique type of action is an example of the trend of 'Kabuki', to put maximum emphasis on statuesque beauty.
The formalization is also characteristic of the vocal aspect of the action of 'kabuki'. Even in the essentially realistic domestic, the standard of speaking is not natural, and is characterized by an idealized speech. So the sketches on pieces of 'kabuki' long monologues in particular, have a fascinating cadence, a middle way between singing and ordinary conversation. This is even more true when, as often happens, the dialogues and monologues are recited to the accompaniment of music. All this makes the action on stage is coincident take even more rhythmic, and the motion seems a modified form of dance.
Arrangement of color in Kabuki:
The spectacular beauty is another key feature of the drama 'Kabuki'. Indeed, the sets, costumes and makeup in 'Kabuki', are known worldwide by professionals as the most lavish and extravagant in the world. You could say that to some extent the popularity of 'kabuki' is caused by its pictorial beauty. The audience watches this wonderful spectacle of its imposing and rich array of color that unfolds before your eyes, even when you're not convinced of the story.
Sound elements:
As mentioned earlier, music is a fundamental part of the art 'Kabuki'. Although various types of instruments used for both tracking corners like to run independently, the main one is 'Shamisen' three-stringed instrument, balalaika type, played with a plectrum. For this reason the whole body of music associated with 'kabuki' is considered the music of 'shamisen'.
In a historical or domestic, as the curtain opens, the music starts, color chords given more color and life to lifeless atmosphere of the stage. The musicians are hidden from view in the left corner of the stage. The music serves as a leitmotif of the show, gives the cue for the entrance of the actor, and with its accompaniment, the actor drives the dialogue and performance. In the case of dance-drama, the musicians are in front of the audience and the music appears more dominant.
The song 'kabuki' is classified into about 12 categories, according to several schools. Among these, the ones that are most commonly used today are: nagauta, tokiwazu, kiyomoto, gidayu, the latter is always used in a drama adapted from the puppet theater.
Besides the music itself, there are many kinds of special effects (for hearing instruments) used in performances of 'kabuki'. The most typical one is the touch of wooden clappers signaling the opening and close of the show. It is repeated in rhythmic beats, separating the notes. The rattles are also used as a percussion musical instruments during the show.
Theatre and stage for the representation of 'kabuki':
Today the theaters 'kabuki' constuidos are, without exception, Western style, with regard to construction, staging facilities and equipment. With all major features retained many traditional theater 'kabuki' such as hanamichi and mawari-butai.
Hanamichi, ramp or step-flowered: It is a passage linking the left side of the stage with the back of the hall through the seats of the spectators and the height of the level of their heads. It provides a way for an entrance and exit of actors besides the passages available in both wings of the stage. Hanamichi, however, serves not only as a path, but also constitutes a part of the stage. Actors to enter or exit via the ramp, they often offer one of the most important scenes of their performance.
Mawari-Bhutan, or revolving stage: This, in turn, was invented in Japan nearly 300 years, and was later introduced abroad. Makes rapid changes of scene without interrupting the sequence of the plot.
Other issues: The front of the stage 'kabuki' is lower and much wider than that of American and European theaters. The stage has aspects of a long rectangle instead of the nearly square form of theaters elsewhere, the curtains in theaters 'kabuki' consist of cotton cloth, red-brown, black and green, not raised as in Western opera, but pulled to the side.
During períodonormalmente called 'Edo Era,' in the course of which the development took place 'Kabuki' was observed more rigid distinction between the plebs and the warrior caste, than in other periods of Japanese history.
The merchants of that time cultivated the habits of the art of 'kabuki', thus becoming ever more powerful under the economic point of view, but still had to continue in positions of social inferiority, because they belonged to the commoner class. In their view, the 'kabuki' was, perhaps, as an artistic medium, the most important and meaningful way to express their emotions under such social conditions. Thus, the themes of the theater 'kabuki' ranging from the conflicts of humanity and the feudalistic system.
Thanks mainly to this humanistic quality of the theater won a popularity so great and so enduring that, in general from that time to this day remains and stays with qualities and glories that never leave the scene and closed the show.
The sense of the word etimolígico 'kabuki' is oblique. Later, he became used to indicate any marked inclination for certain tastes. What was known for drama 'Kabuki' was its oldest form, ie a kind of fast melodrama in which the main characters were singers and dancers.
For the season, a spectacle of an allegedly excessive dose of sensuality emphatic in his bold performances and dances, then the public had given him the name of dance 'Kabuki'. It should be recalled that this spirit "Kabuki" in its original sense, "eccentric," desenpenhou an essential role as an undercurrent always important through the development of dramatic art of 'kabuki'.
The unique feature of the art 'Kabuki', and perhaps the most unusual spirit of significantdecrease conservasão 'Kabuki', is the fact that it uses absolutely no actress, that is, all female roles are played by male called 'onnagata' . As mentioned above, the actors in the drama "Kabuki" in its primitive state, were mostly women, and most of the spectators at that time was actually more interested in the beauty of actresses than their representation on stage.
With the popularity of the theater 'Kabuki', the artizes began to attract undue attention from male audiences. The authorities felt that this would result in a serious demoralization of the public to the theater, then in 1629 was officially prohibited the presentation of women in theatrical venues.
Moreover, as the 'kabuki' already won its permanent space within the population as a form of art, male actors immediately assumed the female roles and continued until the present day. With ban on actresses that lasted for about 250 years, the 'kabuki' has developed and brought to perfection the art of 'onnagata'. At the end of this episode was when the suspension of the closure, there was no more place for actresses in 'Kabuki'. For others, the art of 'onnagata' has become a fundamental and essential in 'Kabuki', that if the show were to lose that element, the traditional quality would be lost forever.
The word 'Kabuki' as a theatrical art is usually expressed in three Chinese characters, ka bu ki, meaning respectively dancing, singing and acting. These characters are phonetic equivalents applied after the original Japanese word, and are an adequate description of the art 'Kabuki', as in turn taking dramatic rise is best defined as a theatrical art consisted entirely of musical elements and dancers.
Another great feature of 'kabuki', which originated in the sixteenth century is its tendency to extensive theater and cumulative, that is, it meets part of all previously existing theatrical forms in Japan
Among the shares which the traditional 'kabuki' extracted technique and repertoire, are the drama 'Noh' and part 'Kyogen', that is the comic interlude presented between the representations of 'Noh'. Nowadays, the number of Japanese who enjoy the 'kabuki' and much greater than the fans 'Noh', but the representations of 'kabuki' adapted from 'Noh' or inspired by, enjoy great popularity, constituting a repertóriocompleto essential part of the 'Kabuki'.
Another source from which the 'kabuki' borrowed large repertoires, it was the puppet theater, often called 'Bunraku', whose development equates roughly to the 'Kabuki' to the same starting time. In 'Kabuki', the primary importance has been placed on the actor rather than on any other aspects of art, such as for example, the literary value of a piece.
During the early seventeenth century, some great writers, including Monzaemon Chikamatsu, called "Sheakespeare Japan," left "Kabuki" with the domain of its actors and returned to the puppet theater where his creative genius was more or less unlimited. As a result, there was a time when the 'Bunraku' overshadowed actors and the puppet theater became more popular than the 'Kabuki'. To return to the front and win this battle theater, the 'kabuki' abused once more its quality and cumulative adopted virtually all of the puppet plays, therefore, today, more than half of the conventional 'kabuki' except for a group of dance-dramas are of 'Bunraku'. The ultimate example of 'kabuki' in her eagerness to embrace all came at the end of the nineteenth century, when this was added an element to the art of literary realism.
Until the appearance of 'kabuki', Japanese people had never seen theater of such color, fascination, excitement and extraordinaire. Accordingly, if any theater in the world can surpass the drama 'Kabuki'.
Interpretation of the theater of 'kabuki':
The theater 'Kabuki', it is more effective in interpretation, even though the beauty of formalization poses one of the aesthetic principles on which it is based, the most important aspect of 'kabuki' preparing a paper on a classical piece, is customary to begin studying the model style perfected by his predecessors. Such a model style, although it was originally made to produce a realistic representation, has been highly formalized and became symbolic during the development of 'kabuki'. Thus, even in part realistic 'Kabuki', the most trivial gestures are often closer to "dance" than "action", ie, all movements are accompanied by music.
There are many cases in which the symbolism is brought to the point of abstraction, to the extent that the formal action of the character is no longer relevant, and he even comes into direct conflict with any rational interpretation of the role.
To achieve this principle of formal beauty, within this universe theater, a special technique 'Kabuki' was developed and named 'Mie', and it is very important and fundamental. It is used in certain moments or at the end of a classic representation of the principal actor, who at one point, like a painting, hang your own picture, staring and crosses his eyes. This unique type of action is an example of the trend of 'Kabuki', to put maximum emphasis on statuesque beauty.
The formalization is also characteristic of the vocal aspect of the action of 'kabuki'. Even in the essentially realistic domestic, the standard of speaking is not natural, and is characterized by an idealized speech. So the sketches on pieces of 'kabuki' long monologues in particular, have a fascinating cadence, a middle way between singing and ordinary conversation. This is even more true when, as often happens, the dialogues and monologues are recited to the accompaniment of music. All this makes the action on stage is coincident take even more rhythmic, and the motion seems a modified form of dance.
Arrangement of color in Kabuki:
The spectacular beauty is another key feature of the drama 'Kabuki'. Indeed, the sets, costumes and makeup in 'Kabuki', are known worldwide by professionals as the most lavish and extravagant in the world. You could say that to some extent the popularity of 'kabuki' is caused by its pictorial beauty. The audience watches this wonderful spectacle of its imposing and rich array of color that unfolds before your eyes, even when you're not convinced of the story.
Sound elements:
As mentioned earlier, music is a fundamental part of the art 'Kabuki'. Although various types of instruments used for both tracking corners like to run independently, the main one is 'Shamisen' three-stringed instrument, balalaika type, played with a plectrum. For this reason the whole body of music associated with 'kabuki' is considered the music of 'shamisen'.
In a historical or domestic, as the curtain opens, the music starts, color chords given more color and life to lifeless atmosphere of the stage. The musicians are hidden from view in the left corner of the stage. The music serves as a leitmotif of the show, gives the cue for the entrance of the actor, and with its accompaniment, the actor drives the dialogue and performance. In the case of dance-drama, the musicians are in front of the audience and the music appears more dominant.
The song 'kabuki' is classified into about 12 categories, according to several schools. Among these, the ones that are most commonly used today are: nagauta, tokiwazu, kiyomoto, gidayu, the latter is always used in a drama adapted from the puppet theater.
Besides the music itself, there are many kinds of special effects (for hearing instruments) used in performances of 'kabuki'. The most typical one is the touch of wooden clappers signaling the opening and close of the show. It is repeated in rhythmic beats, separating the notes. The rattles are also used as a percussion musical instruments during the show.
Theatre and stage for the representation of 'kabuki':
Today the theaters 'kabuki' constuidos are, without exception, Western style, with regard to construction, staging facilities and equipment. With all major features retained many traditional theater 'kabuki' such as hanamichi and mawari-butai.
Hanamichi, ramp or step-flowered: It is a passage linking the left side of the stage with the back of the hall through the seats of the spectators and the height of the level of their heads. It provides a way for an entrance and exit of actors besides the passages available in both wings of the stage. Hanamichi, however, serves not only as a path, but also constitutes a part of the stage. Actors to enter or exit via the ramp, they often offer one of the most important scenes of their performance.
Mawari-Bhutan, or revolving stage: This, in turn, was invented in Japan nearly 300 years, and was later introduced abroad. Makes rapid changes of scene without interrupting the sequence of the plot.
Other issues: The front of the stage 'kabuki' is lower and much wider than that of American and European theaters. The stage has aspects of a long rectangle instead of the nearly square form of theaters elsewhere, the curtains in theaters 'kabuki' consist of cotton cloth, red-brown, black and green, not raised as in Western opera, but pulled to the side.
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