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In the early 17th century, shortly after the emergence of the genre, many kabuki theaters had an all-female cast (onna kabuki, or kabukimono), with women playing men's roles as necessary. [3] Wakashū kabuki ('adolescent-boy kabuki'), with a cast composed entirely of young men playing both male and female roles, and frequently dealing in erotic ...
Adult male actors, however, continued to play both female and male characters, and kabuki retained its popularity, remaining a key element of the Edo period urban life-style. Although kabuki was performed widely across Japan, the Nakamura-za, Ichimura-za and Kawarazaki-za theatres became the most widely known and popular kabuki theatres, where ...
Normative pitch accent, essentially the pitch accent of the Tokyo Yamanote dialect, is considered essential in jobs such as broadcasting.The current standards for pitch accent are presented in special accent dictionaries for native speakers such as the Shin Meikai Nihongo Akusento Jiten (新明解日本語アクセント辞典) and the NHK Nihongo Hatsuon Akusento Jiten (NHK日本語発音 ...
The upper pitch range of the human voice is, on average, about half as high in males as in females. [3] Even after controlling for body height and volume, the male voice remains lower. Charles Darwin suggested that the human voice evolved through intersexual sexual selection, [4] via female mate choices.
Noh is one of the four major types of Japanese theatre.. Traditional Japanese theatre is among the oldest theatre traditions in the world. Traditional theatre includes Noh, a spiritual drama, and its comic accompaniment kyōgen; kabuki, a dance and music theatrical tradition; bunraku, puppetry; and yose, a spoken drama.
Tachiyaku (立役, alt. tateyaku [1]) is a term used in the Japanese theatrical form kabuki to refer to young adult male roles, and to the actors who play those roles. Though not all tachiyaku roles are heroes, the term does not encompass roles such as villains or comic figures, which form their own separate categories.
Kakegoe are used in traditional music ensembles, such as Hayashi, Nagauta, Taiko, and Tsugaru-jamisen.They are used to cue different parts of a musical piece. They can signal anywhere from the beginning or end of a particular rhythm, the beginning or end of an improvisation section for an instrument virtuoso, to cuing different instrument entrances.
Yukitarō is adopted and brought up by Kikunojō Nakamura, the actor-manager of an Osaka kabuki troupe. The adult Yukitarō becomes an onnagata, a male actor who plays female roles, taking the stage name Yukinojō. He wears women's clothes and uses the language and mannerisms of a woman offstage as well as on.