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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 ...
Oshiguma are customarily made after the performance of a kabuki play, though not necessarily after every performance, and given as highly valued souvenirs of the event. A single oshiguma may have face-impressions from one or several actors, usually all from the same show, illustrating the make-up designs for major characters in the play.
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.
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.
Aragoto (荒事), or 'rough style', [1] is a style of kabuki acting that uses exaggerated, dynamic kata (forms or movements) and speech. Aragoto roles are characterised by the bold red or blue makeup ( kumadori ) worn by actors, as well as their enlarged and padded costumes. [ 2 ]
The character of Sukeroku in Sukeroku Yukari no Edo Zakura wears mukimi kuma kumadori, and is the epitome of a handsome kabuki hero attempting to win the love of a high-ranking courtesan. Zare-Guma ( ざれ隈 , "playful" kumadori ) - the style of kumadori used for comic villains; though the kumadori is red, the lines used make the character ...