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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 ...
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.
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.
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.
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").