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Kabuki developed out of opposition to the staid traditions of Noh theatre, a form of entertainment primarily restricted to the upper classes. Traditionally, Izumo no Okuni is considered to have performed the first kabuki play on the dried-up banks of the Kamo River in Kyoto in 1603. Like Noh, however, over time, kabuki developed heavily into a ...
A poetic travel sequence (道行, "path going") found in multiple forms of Japanese theater, particularly Noh and kabuki. In Noh, it refers to a journey scene where characters describe their travel through specific locations, often incorporating references to classical poetry and famous places . In kabuki, michiyuki evolved into a specialized ...
It is composed of the lyric drama noh, and the comic theater kyōgen (狂言). Traditionally, both types of theatre are performed together, the kyōgen being interposed between the pieces of noh during a day of performances. [1] It has influenced the Bunraku, or Japanese puppet theatre as well as Kabuki. [2]
Matsumoto Kōshirō VII in the kabuki-buyō play Kanjinchō. Noh: In the Edo period, when belonging to the warrior class was distinguished from the kabuki which was an entertainment of the popular classes, the adaptation of Noh in the kabuki dance tended to move away from the original piece by completely changing the context, the characters ...
Ryōkake Noh (両掛能, "mixed Noh"), though somewhat uncommon, is a hybrid of the above with the first act being Genzai Noh and the second act Mugen Noh. While Genzai Noh utilizes internal and external conflicts to drive storylines and bring out emotions, Mugen Noh focuses on utilizing flashbacks of the past and the deceased to invoke emotions.
Kanjinchō was the first kabuki played adapted closely from the Noh theater. [4] Though bearing the same name and general narrative concept as a 1702 play, one of the Kabuki Jūhachiban, the modern version of Kanjinchō, going back to 1840, is believed to not be directly derived from or connected to this earlier aragoto piece. [5]
A lacquered nohkan. The Nohkan (能 管) is a high pitched, Japanese transverse bamboo flute, or fue ().It is commonly used in traditional Imperial Noh and Kabuki theatre. The nohkan flute was created by Kan'ami and his son Zeami in the 15th century, during the time when the two were transforming the Noh theatre forms Dengaku and Sarugaku.
It is perhaps in the theatre that jo-ha-kyū is used the most extensively, on the most levels. Following the writings of Zeami, all major forms of Japanese traditional drama (Noh, kabuki, and jōruri) utilize the concept of jo-ha-kyū, from the choice and arrangement of plays across a day, to the composition and pacing of acts within a play, down to the individual actions of the actors.