Bravo! I figured that there would be a video of _onnagata_ roles! They, too, have a long and rich history with many different types of characters represented, from the _keisei_ to the _akahime_ to the _kata-hazushi_ to the _machi-musume_ etc. I'm looking forward to seeing that next video!!
Thank you so much for these explanations. Wonderfully descriptive - “belly thrusters”! We have those people here, too. Looking forward to the Ladies. What was that exceptional yellow costume with the zigzag bridge over the water? So beautiful, though all Kabuki costumes amaze me.
I find three characters you did not mention fascinating and I am hoping you can offer your thoughts on them One is Togashi Saemon from Kanjincho. I'm not sure if he is a Katakiyaku or a Nimaime, he serves as main antagonist in the play, but near the play's end he becomes almost heroic. How has he been categorized? Another is Kudo Saemon Suketsune in the Soga no Taimen plays. Like Togashi he too plays the antagonist, but there is a respectable dignity - almost an honorable rival - tone to his giving invitations to the brothers in the play. And finally there is Benten Kozo. Is he considered a male or a female role? Much of the scene involves the actor having to perform as Onnagata, so I'm curious how this role has been categorized.
Excellent question! Suketsune was originally a pure katakiyaku role, but over time it became a tradition for the troupe's leading actor to play it instead, so it is a rare example of a villain played essentially in the tachiyaku style. Saemon is somewhat similar, as although he functions as a villain, he is played as a shinbōyaku. Benten Kozō is classified as a wakashugata (sometimes called iro wakashu), although at the beginning of the Hamamatsuya scene he tries to pass as a machi musume.
Excellent video brother. This is perhaps one of the most important videos, mainly to explain the roles within Kabuki. I have an important doubt: you made a video about the play Kanahedon Chushingura and recently I watched a video of this play. My question is: could you talk about the Acting Traditions for Kō no Moronao and Momonoi Wakanosuke? It seems that the Kata for both characters varies a lot if the actors are Aragotoshi or Wagotoshi (the videos in question are these two: ruclips.net/video/iO8UEfgD6lw/видео.html&pp=ygUVS2FuYWRlaG9uIENodXNoaW5ndXJh and ruclips.net/video/KxHrmeIi0Ws/видео.html). And it seems that the actors from the Onoe Shoroku line have their own kata, which include the use of a mie similar to the Nirami mie used by the actors from the Ichikawa Danjūrō line in the beginning of the scene and a more intense version of the Hippari mie (which is more intense because the actors playing Kō no Moronao and Momonoi Wakanosuke are aragotoshi, as shown in the first video with Onoe Shoroku II as Kō no Moronao and Ichimura Uzaemon XVII as Momonoi Wakanosuke). Besides the Shoroku kata, what other kata are famous because of this play?
Nice observation! In the past there were differences between Tokyo and Kamigata production of act I, but I am not aware of separate traditions for the roles of Moronao or Wakanosuke at the present, although there is a possibility that the performance of Tomijūrō V, which I use on my videos, follows the style of Kichiemon I, as he also used his unique style for other katakiyaku roles, such as Tokihira in Kurumabiki. As you mention, Shōroku IV really overdoes it on that clip! The performance must be from April 2012 at the Enbujō. My first impression is that he is just trying new things with the character, but if I find more information on the matter I'll let you know.
YO NO NECESITO EJERCITOS NI LEYES NI BONBAS YO AMENAZO A TODO EL MUNDO CON CONBERTIRLOS EN EL PERDEDOR DE EL TEATRO KABUKI Y ACER QUUE SIEMPRE PIERDA Y SIEMPRE SUFRA NAYARA KUROKU O INFIERNO KABUKI !!!!!!!!! ALNERTO FUROKAWA KAWASAKI SUININ !!!!!!!!
This channel is "A Precious Jewel" as is Kabuki Theater.
Thank you.
Bravo! I figured that there would be a video of _onnagata_ roles! They, too, have a long and rich history with many different types of characters represented, from the _keisei_ to the _akahime_ to the _kata-hazushi_ to the _machi-musume_ etc. I'm looking forward to seeing that next video!!
Thanks again for another excellent video!💞
Thank you so much for these explanations. Wonderfully descriptive - “belly thrusters”! We have those people here, too. Looking forward to the Ladies. What was that exceptional yellow costume with the zigzag bridge over the water? So beautiful, though all Kabuki costumes amaze me.
❤❤❤
Бравоооо Кабуки 👍👏💐🥀🌺
文化藝術~♡♡😊
I find three characters you did not mention fascinating and I am hoping you can offer your thoughts on them
One is Togashi Saemon from Kanjincho. I'm not sure if he is a Katakiyaku or a Nimaime, he serves as main antagonist in the play, but near the play's end he becomes almost heroic. How has he been categorized?
Another is Kudo Saemon Suketsune in the Soga no Taimen plays. Like Togashi he too plays the antagonist, but there is a respectable dignity - almost an honorable rival - tone to his giving invitations to the brothers in the play.
And finally there is Benten Kozo. Is he considered a male or a female role? Much of the scene involves the actor having to perform as Onnagata, so I'm curious how this role has been categorized.
Excellent question! Suketsune was originally a pure katakiyaku role, but over time it became a tradition for the troupe's leading actor to play it instead, so it is a rare example of a villain played essentially in the tachiyaku style. Saemon is somewhat similar, as although he functions as a villain, he is played as a shinbōyaku. Benten Kozō is classified as a wakashugata (sometimes called iro wakashu), although at the beginning of the Hamamatsuya scene he tries to pass as a machi musume.
Excellent video brother. This is perhaps one of the most important videos, mainly to explain the roles within Kabuki. I have an important doubt: you made a video about the play Kanahedon Chushingura and recently I watched a video of this play. My question is: could you talk about the Acting Traditions for Kō no Moronao and Momonoi Wakanosuke? It seems that the Kata for both characters varies a lot if the actors are Aragotoshi or Wagotoshi (the videos in question are these two: ruclips.net/video/iO8UEfgD6lw/видео.html&pp=ygUVS2FuYWRlaG9uIENodXNoaW5ndXJh and ruclips.net/video/KxHrmeIi0Ws/видео.html). And it seems that the actors from the Onoe Shoroku line have their own kata, which include the use of a mie similar to the Nirami mie used by the actors from the Ichikawa Danjūrō line in the beginning of the scene and a more intense version of the Hippari mie (which is more intense because the actors playing Kō no Moronao and Momonoi Wakanosuke are aragotoshi, as shown in the first video with Onoe Shoroku II as Kō no Moronao and Ichimura Uzaemon XVII as Momonoi Wakanosuke). Besides the Shoroku kata, what other kata are famous because of this play?
Nice observation! In the past there were differences between Tokyo and Kamigata production of act I, but I am not aware of separate traditions for the roles of Moronao or Wakanosuke at the present, although there is a possibility that the performance of Tomijūrō V, which I use on my videos, follows the style of Kichiemon I, as he also used his unique style for other katakiyaku roles, such as Tokihira in Kurumabiki. As you mention, Shōroku IV really overdoes it on that clip! The performance must be from April 2012 at the Enbujō. My first impression is that he is just trying new things with the character, but if I find more information on the matter I'll let you know.
😂
YO NO NECESITO EJERCITOS NI LEYES NI BONBAS YO AMENAZO A TODO EL MUNDO CON CONBERTIRLOS EN EL PERDEDOR DE EL TEATRO KABUKI Y ACER QUUE SIEMPRE PIERDA Y SIEMPRE SUFRA NAYARA KUROKU O INFIERNO KABUKI !!!!!!!!! ALNERTO FUROKAWA KAWASAKI SUININ !!!!!!!!