Review: 2019 Kabuki Kaomise – the National Theatre of Japan and the Shinbashi Enbujo

PART TWO

The November 2019 performance at the National Theatre of Japan was ‘Koko no Yushi Musume Kagekiyo: Hyuga-Jima’ (孤高勇士嬢景清: (四幕五場) 日向嶋. A Brave and Solitary Warrior Kagekiyo and his Daughter. 4th Act 5th Scene: At Hyuga Island). It was adapted from two Bunraku ‘Kagekiyo pieces’, the puppet plays ‘Daibutsuden Bandai no Ishizuen’ (The Eternal Foundation Stone of the Great Buddha Hall at Todaiji – 大仏殿万代石楚) by Nishizawa Ippu and a later re-working of this called

Review: November 2019 – the Festive Annual Kabuki Kaomise

PART ONE

The start of the Kabuki season, around November each year, is marked by what is referred to as the Kaomise (lit. face showing) performances. This is the time when the pre-eminent actors are seen on stage during performances intended to show off their skills. It has been a very important event in the Kabuki calendar in Edo, Osaka and Kyoto during and since the

Review: ‘Manga マンガ’at the British Museum 23 May – 26 August 2019

Dedicated to the victims of the Kyoto Animation fire in Uji City!

Belonging to Kōzan-ji temple in Kyōto the Japanese National Treasures the eight ‘Scrolls of Frolicking Animals’ and the ‘Scrolls of Frolicking Animals and Humans’ called ‘Chōjū-jinbutsu-giga’ (animal-person caricatures) were painted between the 12^th and 13^th centuries by, it is thought, the artist-monk Toba Sōjō. They are credited by many as the earliest form of manga.

Fast forward nearly a thousand years and the Citi Exhibition ‘Manga マンガ’ at the British Museum (supported by CITI with logistics partner IAGCargo) is touted as the biggest

Review: January 2019 New Year Kabuki: Part Two – Asakusa Kokaido Public Hall and the Kabukiza

Part two of a two part review!

Asakusa Kokaidō Public Hall Shinshun New Year Kabuki

The matinee kicked off with an Otoshidama – Nenshi Goaisatsu, a special kōjō (ceremony), for new year greetings during which one of the company appears on stage, on this occasion Onoe Matsuya, dressed in formal Edo era attire during which he described some of the conventions of Kabuki, highlights to watch out for in the upcoming performances and which are his favourite local hang outs.

…and of course the ever popular famous thief Ishikawa Goemon made his appearance with the first performance of the matinee in the very entertaining Edo style dance drama ‘Modorikago Iro ni Aikata’ (The Returning Palanquin). The two palanquin bearers, Yoshirō (Nakamura Tanenosuke), the chic one who is

Review: January 2019 New Year Kabuki: Part One – Shinbashi Enbujo and the National Theatre of Japan

Part one of a two-part review.

Shinbashi Enbujo

The first performance of the afternoon was ‘Yoshitsune Senbon Zakura’, (Yoshitsune and the Thousand Cherry Trees), one of the three most popular plays of the Kabuki repertoire (which includes ‘Sugawara and the Secrets of Calligraphy’, and ‘Chūshingura: The Treasury of Loyal Retainers’). The particular act of the play performed was ‘Torii Mae’, (Before the Gate of the Fushimi Inari Shrine). This part of the play focuses on the story of how Shizuka Gozen (Otani Hiromatsu) the lover of Minamoto Yoshitsune (Otani Tomaemon) who is following Yoshitsune on his flight from his older brother Yoritomo, is restrained in her attempts to follow Yoshitsune. To restrain his lover Shizuka Yoshitsune enlists the help of his retainer Satō Tadanobu (Nakamura Shidō) who is in fact not the real Tadanobu but is indeed a magical fox. As a fairly standard and very popular act from

Review: Tokyo Year End Kabuki – December 2018

Two reviews in one.

There were two main Tōkyō theatres holding end of year performances in December 2018. The National Theatre of Japan in Hanzōmon and the Kabukiza in Higashi Ginza, and a lucky attendance on the final auspicious day or senshūraku (lit. music of a thousand autumns, an old entertainment industry term for the final day of a performance run) at the Kabukiza andas a result was a full house.

The December 2018 Kabuki at the National Theatre of Japan was the Tōshi Kyōgen (full length play) Zoho Futatsu Domoe (The New and Improved Story of the

Review: Shochiku Grand Kabuki – Salle Jean Vilar

Théâtre National de Chaillot, Paris, France, 13 – 19 September 2018

‘Japonismes 2018: les âmes en résonance’ (souls in resonance) is a celebration of Japanese culture taking part in Paris and other cities in France to mark 160 years of friendship between France and Japan. As part of the celebrations two Kabuki actors, Nakamura Shidō II and Nakamura Shichinosuke II (whose grandfather Nakamura Kanzaburō XVII was one of the first Kabuki actors to perform Kabuki in Paris at

Review: Ehon Gappō ga Tsuji

 

Evening performance of the Grand April Kabuki at the Kabukiza Theatre, Tōkyō: 2 April – 26 April 2018.

Ehon Gappō ga Tsuji (’The Revenge of Gappō at the Crossroads’) is a ‘kizewamono’ (gangster play) which premiered in the 5^th lunar month of 1810 at the Ichimuraza Theatre in Edo (modern day Tōkyō). Dramatised by Tsuruya Namboku IV from a popular novel this rarely performed full length play (toshi kyōgen) was last staged in April 2012 at the National Theatre in Tōkyō with, as in this performance, the 74 year old veteran

Film Review: Boys For Sale – Bai Bai Bōizu

Premiered in the UK as one of the official selection at the 25^th Anniversary of the Raindance Film Festival 2017.

What might at first seem like a potentially titillating documentary on male prostitution in the Shinjuku 2-chome area of Tōkyō, reportedly the largest urban gay area in Asia, becomes something fascinating and shocking in equal parts. One wonders as the documentary progresses at what point the historical Japanese openness and acceptance of male-male sex as a necessary part of human life became something to be frowned upon and kept hidden. Adrian ‘Uchujin’ Storey, who

Spring and New Year Kabuki in Tōkyō – Part Two National Theatre of Japan and Asakusa Kōkaidō

The second and final part of a selection of Kabuki plays in review!

Apart from the performances at the Shinbashi Enbujo and the Kabukiza there were two other theatres also putting on New Year-Spring performances.

A Tōshi Kyōgen was performed at the National Theatre of Japan and there were two, matinee and evening, Shinshun

Review: Spring and New Year Kabuki in Tōkyō – Part One Shinbashi Enbujo and the Kabukiza

Plays in Review: Futago Sumidagawa, Genpei Nunobiki no Taki – Yoshikata Saigo, Shikorobiki, Shōgun Edo wo Saru, Otsu-e Dōjōji, Igagoe Dochu Sugoroku – Numazu, Matsuura no Taiko

This year, 2017, to mark the New Year and Spring in Tōkyō seven Kabuki shows were scheduled during January. Matinee and evening performances at the Shinbashi Enbujo, the Kabukiza and the Asakusa Kōkaidō Public Hall, and a Tōshi Kyōgen, full length play, at the National Theatre of Japan.

There were two Tōshi Kyōgen included in the New Year/Spring

Yago no Kai (Yajūrō–Shingo Company) European Tour 2016

A great introduction to an art which is still able to reach an overseas audience!

In Paris the Yago no Kai Kabuki Company’s performances took place in the Grande salle, the 300 seater theatre, at the Maison de la Culture du Japon à Paris (May 12-14).

Two other European countries are scheduled on their whistle-stop tour this May, in Switzerland at La salle Théodore Turrettini at the Bâtiment des Forces Motrices in Geneva (May 17 & 18), and in Spain Kabuki returns for the first time since 1987, after an

Theatre Review: Ninagawa Company – ‘Hamlet’ (Hamuretto) By William Shakespeare

Yukio Ninagawa directs his best-loved play!

Ninagawa Company – ‘Hamlet’ (Hamuretto) by William Shakespeare 21-24 May 2015 at the Barbican, supported by Thelma Holt Ltd., Saitama Arts Foundation and HoriPro Inc.

Inspired as a celebration and appreciation of his involvement in International Relations, Ninagawa’s 80^th birthday this year is being celebrated under the banner

WIN NINGYO: The Art Of The Japanese Doll By Alan Scott Pate

Hooray! It’s competition time again!

Famed the world over for their intricate beauty, Japanese dolls (ningyo) have played an important role in Japanese art and culture. Ningyo: The Art of the Japanese Doll (read review here) is the first comprehensive book on antique Japanese dolls and figurines published in English. The book focuses on dolls in six categories:

• GOSHO-NINGYO: Palace Dolls and Auspicious Wishes
• HINA-NINGYO: Dolls for the Girl’s Day Festival
• MUSHA-NINGYO: Warrior Dolls for the Boy’s Day Festival
• ISHO-NINGYO: Fashion Dolls and Popular Culture
• NINGYO IN THE THEATER: Entertaining the Gods and Man
• NINGYO AND HEALTH: Dolls as Talisman and Tool

Dressed to Impress – Netsuke And Japanese Men’s Fashion

An exhibition at the British Museum in Room 3 supported by The Asahi Shimbun. 19 June – 17 August 2014

To coincide with the publication of the British Museum’s new book, ‘Netsuke: 100 miniature masterpieces from Japan’, by Noriko Tsuchiya, the museum is hosting a small exhibition, ‘Dressed to Impress: Netsuke and Japanese men’s Fashion’ sponsored by the Japanese newspaper Asahi Shimbun.

As traditional Japanese men’s clothing had no pockets personal effects had to be carried in containers (inrō) hung from the belt (obi). To hang the inrō from the obi a long cord (himo) was threaded

Theatre Review: ‘Kaidan Chibusa no Enoki’ (The Ghost Tale Of The Wet Nurse Tree)

The Heisei Nakamura-za company performs Kabuki at the Lincoln Centre Festival, NYC!

The Lincoln Centre Festival performance of the Kabuki play ‘Kaidan Chibusa no Enoki’ (The Ghost Tale of the Wet Nurse Tree) took place in NYC from 7th – 12th July 2014 at the Rose Theatre. Having inherited the dream of their father Nakamura Kanzaburō XVIII, who sadly passed away in December 2012, the performance run was dedicated to him by his sons Nakamura Kankurō VI and Nakamura Shichinosuke II. Kanzaburō helped establish the Heisei Nakamuraza, a portable

An English translation of ‘Meiji Gekidan: Ranpu No Moto Ni Te’ (Talks On Meiji Era Theatre: Under The Lamp) By Okamoto Kidō

Translation was undertaken for Kabuki fans who are unable to read Japanese!

Born October 15^th 1872 to Okamoto Keinosuke (a samurai retainer of the Tokugawa Shōgunate who, after the Meiji Restoration, went to work for the British Legation as an interpreter) Okamoto Kidō is best known outside of Japan for his mystery novel ‘The Curious Casebook of Inspector Hanshichi’. His family were avid Kabuki fans and well-connected in the theatre world. Though Kidō announced his intention at an early age to become a Kabuki playwright as a consequence of his father’s bankruptcy he had to skip University and

Art Exhibition: Kabuki – Japanese Theatre Prints

Come face to face with Kabuki theatre’s most famous characters!

Venue: National Museum of Scotland, Edinburgh

Date: 4^th October 2013 – 2^nd February 2014

The opening up of Japan to the rest of the world after Commodore Perry’s 1853 visit sparked a craze in the West for Japanese art and design. Called Japonisme it began in the late 1850s and peaked with and after what is considered by some the most pivotal event in the history of Japanese art in the West; the exhibition of Sir Rutherford Alcock’s collection of

The Nakasendo Road Part Three: Day 7 – 10

Third and final part: Japanophile Trevor Skingle ‘walks Japan’ to raise funds for the humanitarian charity RedR UK!

Day Seven: O-tsumago to Kiso-Fukushima – Reports came in that 800mm of rain had fallen on Kyōto as a result of the typhoon Man Yi, that the level of the Kamogawa River at Sanjo Obashi Bridge where the group had walked a few nights before was phenomenally high and there had been