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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 ...
Kagema were often passed off as apprentice kabuki actors (who often engaged in sex work themselves on the side) and catered to a mixed male and female clientele. For male clients, the preferred service was anal sex, with the client taking the penetrative role; [1]: 109 homosexual fellatio is almost unmentioned in Edo period (1603–1867 ...
He is a third-generation Kabuki actor and comes from a renowned Kabuki acting family: his father, Onoe Kikugorō VII (七代目 尾上菊五郎) is one of the greatest Kabuki actors of the Showa and Heisei eras and is known for his versatility with both male and female roles and his grandfather, Onoe Baikō VII (七代目 尾上梅幸) was known for being one of the greatest onnagata actors of ...
Unlike Noh, kyōgen, kabuki and bunraku theater, which feature male performers, nihon-buyō is also performed by women. There are two different dance styles taught in nihon-buyō: onnagata, "female roles", and tachiyaku, "male roles". [12] Thus, a woman can play a male role, and a man can play a female role.
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.
Female actors were banned from kabuki in 1629 in an effort to crack down on prostitution, and the roles of women and young boys began to be performed by wakashū. However, since the sexual favors of wakashū were no less in demand, they were also banned from the stage in 1652, and these roles were taken over by adult onnagata actors [ 3 ] or ...
Yoshizawa Ayame I (初代 吉沢 菖蒲) (1673-15 July 1729) was an early Kabuki actor, and the most celebrated onnagata (specialist in female roles) of his time. His thoughts on acting, and on onnagata acting in particular, were recorded in Ayamegusa (菖蒲草, "The Words of Ayame"), one section of the famous treatise on Kabuki acting, Yakusha Rongo (役者論語, "The Actors' Analects").