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Kumadori (隈取) is the stage makeup worn by kabuki actors, mostly when performing kabuki plays in the aragoto style. [1] The term also applies to a painting method in which two brushes are used simultaneously, one for the color and the other used to create shading or other details. [citation needed]
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.
In contrast to geisha and maiko, kabuki actors apply their oshiroi thickly, creating a bright white face visible from the furthest seats in the audience. A kabuki actor doing a quick change between characters may simply paint over their previous makeup, as oshiroi is opaque enough that previous makeup will not be visible.
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.
Sharaku focuses on transitional poses as before, but the busier designs weaken the effect by drawing attention away from the actors' expressions to other elements of the composition. Most of the aiban prints are more typically Sharaku in that they focus on the upper body and facial expressions against an empty background, this time yellowish. [17]
Ukiyo-e [a] (浮世絵) is a genre of Japanese art that flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica.
However, prints of kabuki scenes and of other elements of the world of the theater are very closely related, and were more often than not produced and sold alongside portraits. Ukiyo-e images were almost exclusively images of urban life; the vast majority that were not landscapes were devoted to depicting courtesans, sumo, or kabuki.
Natori's actor portraits were mainly in the ōkubi-e (large head) format which allowed him to focus on the expression and emotions of the character's face. [1] He continued to work as an artist in the kabuki theater, but did not design any other actor prints until the early 1950s. From 1951 to 1954, he again collaborated with Watanabe on ...
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