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Political posturing, also known as political grandstanding (from the notion of performing to crowds in the grandstands), political theatre, or "kabuki", [1] is the use of speech or actions to gain political support through emotional or affective appeals. It applies especially to appeals that are seen as hollow or lacking political or economic ...
Kabuki (歌舞伎, かぶき) is a classical form of Japanese theatre, mixing dramatic performance with traditional dance. Kabuki theatre is known for its heavily stylised performances, its glamorous, highly decorated costumes, and for the elaborate kumadori make-up worn by some of its performers.
Dance pieces (所作事) in kabuki that emphasize movement and music over plot, showcasing the performers' grace and technical skill. Shozoku The traditional costume robes (装束) worn in Noh theater, made of richly embroidered silk with different levels of elaborateness depending on the character's importance.
An important early development of dance in kabuki was the incorporation of elements from keigoto, bunraku dance scenes. [7] However, proper shosagoto dances, performed by onnagata (lit. "female role") actors, entered the kabuki repertoire in the Genroku period (1688-1704) (see also Genroku bunka).
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. Modern Japanese theatre includes shingeki (experimental Western-style theatre), shinpa (new school theatre) and shōgekijō (little theatre). In addition, there ...
One of many kabuki works based on the noh play Shakkyō (The Stone Bridge), in the last stages of Renjishi development as a kabuki dance it was brought closer back to the noh version. In particular, in the February 1901 performance at the Tokyo-za , Renjishi was turned into a matsubame mono (pine-board play), modifying the stage to replicate ...
Sagimusume (Heron Maiden) dance performed by onnagata Akifusa Guraku in 2011. Onnagata (女形/女方, lit. 'female role'), also oyama (女形), are male actors who play female roles in kabuki theatre. [1] It originated in 1629 after women were banned from performing in kabuki performances. [2]
The latter's dynamic dance gave rise to a series of sanbasō mono repertoires in kabuki: the play Kotobuki Shiki Sanbasō is the most ritualistic, and the rest of the repertoire develops the more entertaining aspects for kabuki: Ayatsuri Sanbasō, Ninin Sanbasō, Shitadashi Sanbasō, Hinazuru Sanbasō, Shiki Sanbasō, Kuruwa Sanbasō, etc. [27]