Kabuki : $b The popular stage of JapanKincaid, Zoë
History
Kabuki : $b The popular stage of Japan
Kincaid, Zoë
Japanese drama -- History and criticism; Kabuki; Theater -- Japan
Since the time of O-Kuni, however, until the present, it has continued
to adorn the outside of the theatre, and although it is seen no more
in Tokyo, in the shibai of Kyoto and Osaka it is still preserved. The
drummer no longer beats his signal from the big-drum tower, but he now
performs this duty within the theatre just previous to the drawing of
the curtain, making a stirring sound that causes playgoers to
hurry to their seats with pleasurable anticipations.
By the middle of Meiji a flood of Western stage ideas had begun to
inundate Japan. Imported styles of theatre architecture, together with
externals, now threaten to supersede those that are so thoroughly
characteristic of shibai and have been in existence for so long. Old
shibai is passing. It seems but a matter of time before the picturesque
externals developed in the three towns in the brave days of old shall
have vanished from the land.
[Illustration: Crest of Jitsukawa Enjaku (Double well-head).]
[Illustration: Crest of Nakamura Fukusuke of Tokyo (Back of plum
blossom).]
[Illustration: Crest of Onoe Baiko (Chrysanthemum and leaves).]
SAKUSHA
CHAPTER XXIII
CUSTOMS OF THE SAKUSHA
The Kabuki playwright, or sakusha (lit., to-make-man), was part and
parcel of the theatre. He served the theatre because it was in him to
do so, but the smallness of his remuneration and the inferior position
assigned to him greatly restricted the scope of his activities and
retarded his development. He degenerated finally into a mere drudge of
the actors, a menial to carry out their commands. The actors enjoyed
the right of way, and while the ideas of the playwright were eagerly
seized upon, the sakusha continued to be crushed to the wall. There
were no literary men aloof from the theatre to form a higher court of
appeal and dictate in the matter of plays.
A glimpse of the dignity of the old sakusha and the theatre gatherings
in which he figured, as well as some of his customs, is afforded in
_Engeki Taizen_, or Complete-Account-of-Drama, by Sekine Mokuan, one
of the leading modern writers upon the theatre.
Public-domain text, read in full here on John Shaqi.
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