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日本大学生産工学部研究報告Ｂ
2006 年 ６ 月 第 39 巻
文
表象のディスクール
シェイクスピア劇の「女形」に焦点を当てて
福島
昇
The Discourse of Representation
Focusing on
Actors in Shakespeare s Plays
Noboru FUKUSHIMA
The purpose of this article in which I mostly focus on Twelfth Night, Antony and Cleopatra and
Richard II is to compare British Onnagata actors,that is to say,males acting as females on the stage,
with Japanese Onnagata actors.In addition,I compare Mark Rylance,an actor and the artistic director
at Shakespeares Globe Theatre in London, with Tojuro Sakata IV, an Onnagata actor and a living
national treasure who incidentally happened to be Rylances dance master.
After the Globe Theatre reopened in 1996,Antony and Cleopatra as well as Twelfth Night−performed
in 1999 and 2002,respectively−received much critical acclaim.The roles of Cleopatra and Lady Olivia
were played by Rylance,who received a standing ovation.Such enthusiasm on the part of the audience
was the result of Rylance s sense of innovation, namely his incorporation of the Onnagata method, a
common and traditional feature in Kabuki theatres in Japan.In fact,there is a great difference between
the Japanese and the British Onnagata method.As Roland Barthes points out,British Onnagata actors
onlymimic women whereas their Japanese counterparts bring their imitation to perfection on an artistic
plane.
After years of training,an 80-year-old Onnagata actor often manages to look as young and beautiful
as a woman in her twenties.People might call this phenomenon an oriental miracle. Consequently,will
British theater companies return to the way plays used to be performed when actresses were prohibited
to perform on the stage and female roles were acted by young boys?In this authors opinion, chances
are that a revival of that tradition is what Shakespeare would have wanted.
Keywords: Representation, Onnagata, Antony and Cleopatra, Richard II, Twelfth Night
Nowadays, more and more British theatrical com
Japanese classical methods,namely those you can see
panies realize that Shakespeare s plays−that are pre-
in Kabuki theatres. Kabuki is a traditional Japanese
modern−demand specific staging. Consequently,
form of theatre with its origins in the Edo period
some companies have requested Ninagawa, a
(1603−1868). Kabuki plays, about historical events,
Japanese producer, to direct King Lear for instance,
moral conflicts in love relationships and the like,
or to dynamically produce Shakespeare s plays using
which reflect a traditional drama form with highly
日本大学生産工学部教養・基礎科学系教授
― 11 ―
stylized songs, mimes and dance routines, are per-
bear the fruits that Rylance gathered from Shigenoi
formed only by men, and are extremely popular in
no Kowakare. According to a number of theorists
Japan.As an example,in 2002,the Royal Shakespeare
specialized in gender and feminist studies, the Onna-
Company performed Julius Caesar and Hamlet; for
gata method of Kabuki was built from a male point of
the circumstance,they used Hanamichi,that is to say,
view. Sophisticated Onnagata actors, however, are
a runway extending off the right side of the stage
different, and are made up artistically. Onnagata
amidst the audience to a side exit of a Kabuki theatre,
actors do not copy ordinary women but embody the
so that the actors closeness to the audience might
concept of the essence, beauty and attractiveness of
make their performance even more compellingly real.
women. So, strictly speaking, actors appearing as
Shakespeares Globe Theatre−that came to life
women at the Globe Theatre should not be called
again after approximately 400 years−has adopted the
Onnagata actors because they only mimic women. In
Kabuki technique, thus to enable reenacting drama
addition, the Japanese point of view regarding Onna-
the way it was staged in the Elizabethan era. The
gata actors is totally different from that of West-
Globe Theatre performed Antony and Cleopatra 400
erners.That is precisely what Roland Barthes says in
years later with Onnagata actors,that is to say,actors
L empire des signes,a critical work in which he argues
who specialise in female roles. Since then, the Globe
the difference between Japanese Onnagata actors and
Theatre has continued to perform Shakespeare s
Western actors portraying women: the ［Kabuki］
plays, imitating the use of true Onnagata actors in
actor, in his face, does not play the woman, or copy
Kabuki plays .In this article,it is impossible to intro-
her, but only signifies her (89).
duce each of Shakespeares plays in which Onnagata
Now, we should explore the circumstances behind
actors act on the stage. Therefore, we should only
the performance of Twelfth Night inspired by the
consider to what extent Onnagata actors affect the
Kabuki Onnagata method, and look deep into the
plays of the Globe Theatre.
similarities and differences between the Kabuki
The New Globe Theatre is particularlyinterested in
method and that of the Globe.
Kabuki plays that present similarities with Shake-
One of the similarities between Kabuki plays and
speare s dramas during the Elizabethan era. Tojuro
Shakespeare s−at least,during the Elizabethan era−
Sakata IV performed Fuji Musume (The Wisteria
is the absence of women on the stage. At that time,
Maiden, 1826)−translated as Welcome Kabuki −at
women were forbidden to act on the stage on account
the Globe on June 4, 2001, and Mark Rylance, an
of religious reasons in Britain. Consequently, pre-
artistic director and lead actor, made a speech ex-
adolescent boys performed women s roles. After the
plaining the Onnagata method before the perfor-
Restoration,however,men performed onlymale roles,
mance. In his speech, Rylance mentioned Tojuro s
and women, female roles. In Japan, men always per-
Shigenoi no Kowakare , one of the Kabuki plays that
formed women s roles except during a period in the
he watched at the Kabuki Theatre in Tokyo in 1998,
Meiji era when women were allowed to perform
and he added: I m wondering how and whythe actor,
women s roles. As Barthes points out, the Kabuki
who is over 60,can vividly perform the character of a
Onnagata method is different from that of the Globe.
young woman. British Onnagata actors performed in
As an example, hereditary succession to Onnagata
the Elizabethan era, therefore, we should trace its
actors is clearly seen in the Onnagata method.
origins (Yamamoto 7). Although Rylance felt shock-
Okuni, an original Kabuki actress, was known for
ed when he first attended Onnagata actors perfor-
initiating the Okuni Kabuki Style in her own theatre
mances,he decided,however,to perform Cleopatra as
on the banks of the Shijo River in Kyoto, 401 years
an Onnagata actor, and he told the audience why.
ago.
Rylance confessed to the fact that it was the Kabuki
The New Globe,which stands in the Suzark District
Onnagata actors impressive talent that strongly
on the southern side of the Thames in London, is a
prompted him to act as Cleopatra in Antony and
theatre that imitates those of the Shakespearean era.
Cleopatra, a play that was performed by an all-male
The Globe is near the site of the Rose Theatre. The
cast at the Globe Theatre in 1999.
theatre company attached to the Globe makes full use
Antony and Cleopatra is the first performance to
of theatre sets of the 16th century, bringing perfor-
― 12 ―
mances of Shakespearean times to life,rediscovering
the thatched roof and the theatre burned to the
dynamic elements buried in the dust of the time.
ground. The theatre was quickly rebuilt, this time
Rylance tries to use a wide range of clothes, theatre
with a tiled roof. It remained the home for Shake-
devices, music and directions from that time. He has
speare s old company until the closure of all the thea-
tried three kinds of direction: one is an all-male cast,
tres under England s Puritan administration in 1642.
another one is an all-female cast and the last one is a
No longer of use,it was demolished to make room for
male-and-female cast.
tenements in 1644. The reason why British men were
It seems that Richard III, The Taming of the Shrew
no longer used for female roles is that when British
and Much Ado About Nothing −that were performed
theatres reopened, they were largely under the influ-
by a theatre company with actresses only−were
ence of their French counterparts that preferred to
particularly successful on a commercial plane. The
hire women.
reason for their success was that this type of com-
Four hundred years later, in 1996, the New Globe
pany−which didn t exist during the Elizabethan era−
formally reopened with the performance of Henry V ,
appeared at the Globe Theatre for the first time.
and in attendance was Queen Elizabeth II. Also in
The New Globe came to life again around ten years
Japan it is probably significant to mention that, not
ago. But the truth about Shakespeares performances
unlike the situation that characterized the Globe
during the Elizabethan era remains shrouded in mys-
Theatre during the Elizabethan era, there was also a
tery because the Puritans closed the theatres in
close relationship between the audience and the actors
Britain for 18 years.The theatres and forms of perfor-
of Kabuki plays. Besides, like in Britain, the Kabuki
mances were changed during the Restoration, and
plays were mainlyperformed during the daytime from
many historical documents were destroyed on the
the Edo era (1603−1868)to the middle of the Meiji era
tragic occasion of the big conflagration in London in
(1868−1911).
1666.Unlike England,Japan has inherited the Kabuki
The first Kabuki performances and Shakespeare s
tradition and technique which has remained un-
plays appeared at about the same time.In 1603,Izumo
changed since its creation.
no Okuni,who is said to be the founder of Kabuki and
In Asahi Shimbun,Drew Gerstle,a professor at the
also the founder of the art of Kabuki costumes depict-
Universityof London declared: the impact of Kabuki
ing high class courtesans, performed female Kabuki
was strongly felt in Antony and Cleopatra because
just as Shakespeare was writing All s Well That Ends
Cleopatra was performed by middle-aged Rylance,
Well .
not by a young boy (7). Nevertheless, Rylance s
In Japan,Western cultures were largely accepted in
Cleopatra is strongly influenced by the Onnagata
the early 17th century; at that time, Okuni wore a
style, but his Onnagata method seems strange to us,
rosary around her neck, and performed Nenbutsu
Japanese, who are familiar with Kabuki Theatre.
dancing (Buddhist dancing)like an Onnagata actor.
However,one has to accept the British Onnagata style
As mentioned a few lines earlier, Shakespeare s
because it reflects a very different approach that is
plays in the West, and Kabuki performances in the
based on the Western gender theory.
East,started at about the same time. Wakashu Kabuki
Before referring to Shakespeare s Globe Theatre,it
plays (performed byhandsome young boys)also began
is necessary to briefly explain the relationship
at the same period. Kanzaburo Saruwaka made the
between the New Globe Theatre and the old one, as
Saruwaka Theatre, which,later on,was renamed the
well as the relationship between the Elizabethan per-
Nakamura Theatre,in 1624 .The Tokugawa adminis-
formance style and that of Kabuki during the Edo era.
tration prohibited women from performing in Kabuki
In addition, it is necessary to refer to the process
plays; as a result,ever since that time,actresses have
showing how the new Globe Theatre was established
totally disappeared from the stage. That decree was
and what its original aim was.
issued by the Tokugawa Shogunate in 1652; this,
By early 1599, the first Globe was up and running,
however, did not discourage those women since, on
and thrived for 14 years, presenting many of Shake-
various occasions, they even asked the Tokugawa
speare s greatest plays.In 1613,during a performance
administration to grant them the right to act on the
of Henry VIII , wadding from a stage cannon ignited
stage. That is why the Tokugawa administration
― 13 ―
Fig.1
Olivia (M ark Rylance) in
Twelfth Night, 2002
Fig.2
Queen Isabel (M ichael
Brown)in Richard II ,2003
Fig.3
Nurse (Bette Bourne) in
Romeo and Juliet, 2004
Fig.4
Tamasaburo Bando V in
Fuji Musume, 1992
Fig.5
Kikunosuke Onoe V in
Kagamijishi, 1995
Fig.6
Kanzaburo Nakamura
XVIII (Izumo no Okuni)in
Saruwaka Edo no Hatsu
Yagura, 2005
allowed the resumption of Kabuki plays under the
Regarding Kabuki performances in Japan and
condition that the actors cut their bangs and stop
Onnagata-style performances at the Globe Theatre,
acting in lustyperformances,but rather do Monomane
there is unquestionably a very significant difference
Kyogen Zukushi . Some time later, Kabuki plays
between them. Indeed, Kabuki actors face the audi-
became established among people and when Western
ence from the stage in a perpendicular way. This is
cultures via Dejima−an artificial fan-shaped island
called a vertical performance,and,in the past,Shake-
constructed in Nagasaki Harbor by the Tokugawa
speare s performances traditionally resorted to that
Shogunate in the 17th century−appeared in Japan in
presentation style.Conversely,realistic performances
the late Edo era, Nanboku Tsuruya (author, 1755−
show a very different style from that of vertical
1829)accepted Shakespeare as Seiseien Ihara (author,
performances. As an example, Ibsen s modern plays
1870−1941) claimed. Kabuki evolved to its present
are typical of what is called realism; in his play, A
state after many twists and turns.
Doll s House, the characters talk to each other; they
― 14 ―
neither speak nor gesture to the audience.In this type
When Rylance performed his role as an Onnagata,
of play,the actors and actresses do not concern them-
Shakespeare s words exhibited their original power.
selves with the audience.
The Onnagata method might very well be the best or
Let us examine now both Kabuki and Shakespeare s
plays from the viewpoint of the world play styles.
only way to revive Shakespeares intention for the
stage.
There are two kinds of styles in art: they are named
Regarding the performance of Antony and
classic and baroque, and Kabuki plays as well as
Cleopatra, the New York Post published a number of
Shakespeares belong to the baroque genre.
fault-finding remarks as testified by the following
Antony and Cleopatra was first performed at the
passage: This season, the Globe company is experi-
Old Globe between 1606 and 1608. Not long ago, a
menting with staging Shakespeare with an all-male
revival was organized to celebrate the 400th anniver-
cast dressed in handsome Elizabethan costumes, as
sary of the foundation of the Old Globe.It was signifi-
was done in Shakespeare s time.Back then,however,
cant for the New Globe to try to revive the perfor-
the women were played by pre-adolescent boys;
mance style of the Elizabethan era, when the Old
here,they are fully grown men,which creates a sense
Globe was known as the blue vault of heaven. As for
of drag rather than convention. The Daily Telegraph
this author, I bought a standing ticket to watch the
also criticized the Globe company by declaring: At
performance closely right in front of the stage.It was
this early point in the run,one might feel Rylance has
performed by an all-male cast exploring all clothing,
bitten off slightly more than he can chew. The actor
music,dance and settings possible used at the original
didn t completely metamorphose into Cleopatra for
Globe Theatre in 1603. The New Globe Theatre
me. There was a little too much drag comedy as this
revived the pronunciation of English used in the
small muscly chap pranced on like a lissome girl,
Elizabethan era,in an experimental attempt to revive
swaying his hips, toying with his wig of long gipsy
an academic relic on the stage. The audience came
curls, and glancing with a naughty smile at Paul
across a valuable opportunity to experience the elabo-
Shelleys pursuing Antony. This is in danger of
rate beauty of clothes from the 17th century and the
descending into a camp farce.
English of those days.
The argument of the Daily Telegraph is based on the
Antony and Cleopatra was performed at the New
fact that when Antony and Cleopatra kissed each
Globe in 1999, and started with a traditional elegant
other, the audience could not refrain from laughing.
music. When M ark Rylance, as Cleopatra, appeared
The reason was that the audience was not familiar
on the stage, he was white-painted for his face like
with the presence of Onnagata.In addition,Rylance s
Japanese Onnagata actors. Rylance used the Kabuki
Cleopatra just graphically mimicked a woman where-
style when he performed Cleopatra s unrest. When
as Japanese Onnagata represent women in a far more
Cleopatra entered and exited the stage, she slid
accurate way. Despite the fact that Rylance is
quickly, thus imitating the shuffle of Japanese danc-
Ganjiro s disciple,his performance as Cleopatra−who
ing. The special movements of his hands and feet
is filled with passion for Antony−is not skillful
reflected to the audience the image of the doll in
enough from a Japanese point of view.If Ganjiro had
Joruri puppet theatre. Joruri is a type of dramatic
performed Cleopatra, he would probably have been
recitation accompanied by a shamisen,three-stringed
mindful of women s attractiveness, loveliness and
instrument that developed from the classical Japanese
delicate shoulder lines.Therefore,Ganjiro would have
stringed instrument, the biwa, that is associated with
given much more thought and attention than Rylance
the Japanese puppet theatre.
did regarding how to turn his face backwards and
Rylance entered the stage wearing feminine make-
twist his waist, the way women usually do. When a
up including a thin-colored lipstick to make his lips
Japanese Onnagata turns round,he turns his neck and
appear larger. He had an elegant manner,though not
waist at the same time; it has been a basic teaching of
showing a delicate womanhood. His voice was not a
the Onnagata method for approximately 400 years.
forced feminine one: it had a beautiful, smooth and
Ohatsu s performance in Sonezaki Shinju, or Koshitsu
natural female intonation that gave the audience the
Sadaka s in Imoseyama Onna Teikin, A Girl Sac-
impression that his mind was a woman s as he spoke.
rificed at Imoseyama at a Kabuki Theatre would
― 15 ―
never cause the audience to laugh the way people did
during the late Edo period. Nevertheless, the Finan-
at the New Globe .
cial Times criticizes: Relatively speaking, however,
Concerning the Onnagata method, Roland Barthes
there is nothing in this Antony and Cleopatra that
says: the actor,in his face,does not play the woman,
casts serious new light on to the play...Block s produc-
or copy her, but only signifies her; if, as Mallarme
tion,dressed along Jacobean lines by Jenny Tirameni,
says, writing consists of gestures of the idea, trans-
works, but only in a basic and old-fashioned sense.
vestism here is the gesture of femininity, not its
plagiarism (89).
As for Bates, he agrees with the British Onnagata
method as testified by his following remark in the
At the New Globe,British Onnagata actors declaim
New Globe House: For the past three seasons,
in a way that sharply contrasts with their Japanese
Rylances company has cast young men to play
counterparts: indeed, the latter make every effort in
women, trying to be faithful to the conditions of
order to sound like women.
Shakespeare s time. This has been interesting, cul-
The New York Times states: Giles Block s all-
minating in his own very successful performance as
male production［at the Globe］ doesn t altogether
Cleopatra last year... (New Globe Playhouse−2000
help here, for the lifting of the dying hero up to
Season 3).
Cleopatra s monument is inadvertently hilarious,with
Although most critics express harsh opinions con-
the captured queen of the Nile and a big, beefy
cerning the exclusive use of British Onnagata actors,
Charmian hauling at the rope as if they were energeti-
it is significant that British Onnagata actors have
cally raising the mainsail on some unwieldy galleon.
reconfirmed Shakespeares dynamism that Britain
This statement clearlycriticizes the Onnagata method
lost when female actors appeared on the stage.
because, for the critic, the performance is at risk of
deteriorating into a farce.
Let s discuss now the performance of Twelfth Night
at the New Globe. It was first performed in Middle
Even more criticism can be found,in the Times for
Temple Hall in London on February 2, 1602. Twelfth
example: Would his Cleopatra prove an embarrass-
Night reopened at the New Globe in 2002,and started
ing drag-act? Wasn t it absurd and unfair to give a
with a traditional elegant music. Rylance s perfor-
man the greatest of all women s roles?And how would
mance of Lady Olivia was very pale and jerky.Some-
a still-controversial theatre cope with its first attempt
how this author could never forget that Rylance was
to stage a genuinely great tragedy?Well, it s nice to
a man performing as a woman.But it was good acting
report that Rylance and his company answer most
on his part, and also seemed to be what he aimed at.
doubts, though there are moments when it is a close-
His presence on the stage was remarkable because his
run thing. His own performance undeniably lacks
performance reminded me of the Japanese Onnagata
sensuality,but you cannot doubt its integrity and you
method.
must admire its intelligence and wit.
Concerning the performance of Twelfth Night, Ben
British Onnagata actors performances lack sensual-
Brantley criticizes: At first she seems scarcely
ity whereas in Japan,Onnagata actors use red make-
human,this effigy of an aristocrat.She might be some
up and clothing to represent sensual beauty. Two
elaborately contrived puppet, a figure of fun in a
examples of this use of color are Izumo no Okunis use
Punch and Judy show,with her falsetto voice,painted
of bright red on her short black kimono used during
face and sliding step, which suggests there must be
Nenbutsu dancing, or the red color found on Sukero-
wheels instead of feet beneath her floor-length skirt.
ku s short kimono coat with a black crest . Other
And it s initially hard to forget that she is being
examples are Yaoya Ohichis crimson kimono and
portrayed, after all, by a man.
Bentenkozo s (The Rascal Benten) red undershirt.
Although there was a strong tone of criticism con-
While Japanese Onnagata actors use red to represent
cerning the 1999 version of Antony and Cleopatra,the
sensuality, their British counterparts do not as they
attitude of the mass media regarding the 2003 version
prefer a pale pink color instead.
of Richard II −that was performed by an all-male
Only Kabuki plays have this sensual aspect; how-
production−changed . That is what Bates, a critic,
ever,it may not be irrelevant to mention that,without
confirms as he declares: Many critics can t come to
exception, Onnagata actors were all homosexuals
terms with these original practices, all-male, produc-
― 16 ―
tions. I no longer worry about how believable are the
ness towards their son. However, it does not mean
young men when portraying women. I know they are
that the element of tragedy weakens; on the contrary,
men, but they convince me that the characters are
the element of tragedy deepens much more strongly.
female. That is what acting is about, suspension of
Consequently, Kabuki is unique in the way it has
disbelief. It is just one more way that these Globe
handed down its methods and arts orally and physi-
seasons give us an idea of what it must have been like
cally.
for the audience of Shakespeare s time to hear a
play (1−2).
Yukio Mishima, a world famous novelist, said that
the ancient Greeks believed in the human outside and
Richard II proved that the audience was fascinated
that Kabuki is an art in itself that shares the same
by the Onnagata method of the Shakespearean era.It
belief. That s why Kabuki can represent Man by
also showed how adult men, not young boys, could
means of the outside.In addition to innate characters,
perform women s roles tragically or comically.
Onnagata actors grasp Yakugara (roles)individually,
As an example, Act V, Scene iii of Richard II is
performing various kinds of roles and adapting their
supposed to be tragic,pathetic and miserable because
performance accordingly.That might very well be the
Bolingbroke has just heard that Aumerle,who is both
reason why an 80-year-old Onnagata manages to look
his own cousin and York s son,is planning to assassi-
more feminine than a young woman.
nate him. If Bolingbroke killed him, his action would
Shakespeare s plays include a theatrically large
be justified because Aumerle is a rebel; besides,York
scale that the technique of modern realistic plays
has shown Bolingbroke a letter in which Aumerle s
cannot express.This is part of the fundamental nature
treason is blatantly explicit.Therefore,Aumerles life
of pre-modern plays.Both Shakespeare s and Kabuki
is in danger. The Duchess of York, however, appeals
plays share a theatrical dynamism that modern plays
to Bolingbroke to spare her son−despite York s deter-
have lost. The New Globe attempt to imitate the
mination to punish his son severely−as can be seen
Onnagata method brought new life to Shakespeare s
when she exclaims: O King, believe not this hard-
texts. Japan is unique in the way it has held the
hearted man (5.3.86). York,however,remains imper-
tradition of pre-modern performances and the heredi-
vious to her arguments, and calls his son a traitor:
tary system of Kabuki actors. Thus, on the artistic
Thou frantic woman, what dost thou make here? /
plane, Japan should continue to educate the world; it
Shall thy old dugs once more a traitor rear? (5.3.88-
has a responsibility and also a duty to prompt Britain
89).
to study the performance styles of Shakespeare s era
The spectators, however, enjoyed watching the
as in Kabuki.
scene in question, and felt neither tense nor nervous
Kabuki plays are accepted as a particular, artistic
during that specific production at the Globe in 2003.
genre that can communicate the Japanese sense of
Various reasons may account for their attitude: one
beauty to the Western world and is valuable for
of them is the result of the gender swapping. The
sharing cultural traditions. Western spectators are
Duchess of York, Queen Isabel and the Duchess of
frequently moved by the exotically specific and theat-
Gloucester, such as they appeared on the stage, were
rical performances that Kabuki plays offer. Kabuki
physically taller and much more muscular than their
plays constitute a genre that is not only reserved for
husbands, the Duke of York, King Richard II and the
an elite, and they are all the more interesting as they
Duke of Gloucester. Indeed, their roles were per-
share a number of similarities with Shakespeare s
formed by British Onnagata actors who, unlike their
plays of the Elizabethan era.
Japanese colleagues, were unable to look and sound
Notes
like women. In this authors opinion, the main difference between the British and the Japanese Onnagata
method is on the artistic level. As a result, everyone
１ This paper is based partly on Eikoku ni Okeru
burst out laughing when,for example,the Duchess of
Onnagata no Juyo−Antoni to Kureopatora wo
York blamed York for not trying to help their son.In
Chushin ni［The Onnagata Receptivity in UK−
the play, York tries to run away from the Duchess
Focusing on Antony and Cleopatra］
, Ibunka no
who often hits and beats him because of his heartless-
Shoso ［Cross Cultural Aspects］ (Tokyo: Asahi-
― 17 ―
press, 2006) 1-8. In this article, I made use of G.
Blakemore Evans, ed. Riverside Shakespeare (Bos-
Lion dancer holds a peony (Kagamijishi).
８ Rewritten at the time of the Saruwaka Festival
ton: Houghton Mifflin, 1974). Reference numbers
that took place to celebrate the 360th anniversary
in the text indicate act, scene, and line.
of Kabuki,this dance was first performed in Janu-
２ Twelfth Night (performed May 22 to September 28,
ary 1987. The part of Saruwaka in this opening
play of the name-taking performance will be
2002)
M ain staff:
played by Kantaro, the elder son of the current
Master of Play
Tim Carroll
Kanzaburo (who played the same part in the first
Sebastian
Rhys Meredith
performance),and the part of Izumo no Okuni will
Viola
Michael Brown
be played by Kanzaburo s brother-in-law,Fukusu-
Antonio
Colin Hurley
Olivia
Mark Rylance
Duke Orsino
Liam Brennan
ke (Kabuki Program for March 2005).
９ Ohatsu,a prostitute,who is Tokubeis lover,assistant to a soy-sauce merchant, is a common folk,
３ Shigenoi is a wet-nurse. Kowakare means separa-
but the purity and depth of their feelings elevate
tion from one s child.
them in the end to full tragic dignity as their hopes
４ Izumo no Okuni (1571−?) was born about 1571.
in life are thwarted.This insight into the sufferings
This time period in Japanese history was fraught
of ordinary people was one of Chikamatsu s
with struggle. It was known as the Period of
greatest innovations and contributions (Tokubei
Warring States, that is, the land barrons (daimyo)
(44)and Ohatsu (45)).The playSonezaki Shinju was
fought against one another for power. Her father
originally written for the puppet theatre(Bunraku)
was a blacksmith for the Izumo Grand Shrine and,
and staged for the first time in Osaka at the
consequently, the family served as well (Prus-
Takemotoza in May 1703. It was based on a real
mack).
event that happened in Osaka in April 1703 (So-
５ Arriving in Edo in 1622 as a kyogen trained actor
nezaki Shinju). Imoseyama Onna Teikin Yoshino-
named Saruwaka (literally, jester), Kanzaburo
gawa of Imoseyama Onna Teikin is a climactic
soon got permission from the Tokugawa shogun-
scene in the play which is based on the Taika no
ate to establish the Saruwakaza theatre in Nihombashi, where he staged performances of Young
Kaishin (Taika era reforms of the year 645).
10 The play Sukeroku was staged for the first time
M en s Kabuki and steadilyrose to stardom (Japan
in March 1713 in Edo at the Yamamuraza.
11 King Richard II (performed May 8 to September
Times).
６ Kyogen is the classical comic theatre which bal-
27, 2003)
ances the more serious Noh.While Noh is musical
M ain staff:
in nature, Kyogen emphasizes dialogue. The two
Master of Play
are traditionally performed alternately on the
Henry Bolingbroke Liam Brennan
Tim Carroll
same program and they share a common heritage.
Artistic Director
Rylance
In addition to their own Kyogen repertoire of
Lady
Richard Glaves
comic plays,Kyogen actors usuallyappear in inter-
King Richard II
Mark Rylance
lude roles in Noh plays.Similarly,Noh instrumen-
Duchess of York
Peter Shorey
talists also sometimes appear in Kyogen plays.
John of Gaunt
John McEnery
The training methods of the two forms are also
similar (Background to Noh-Kyogen).
Works Cited
７ In the first act of the Kabuki play Kagamijishi, a
young palace maid dances with a lion mask as part
Background to Noh-Kyogen http://www.iijnet.or.jp/
NOH-KYOGEN/english/english.html.
of the New Years festivities. She becomes possessed by the mask as she dances. In the second
Barnes, Clive. Great Shakes and Small New York
part of Kagamijishi, a lion spirit appears and
dances in a garden full of peonies. A handsome
Post. 19 Sep. 1999.
Barthes, Roland. Empire of Signs. Trans. Richard
modern doll (with plastic surfaces) of the White
― 18 ―
Howard. New York: Hill and Wang, 1983.
Bates, Alan. Antony and Cleopatra Albemarle of
Rylance, M ark. Play. Eds. Daniel Hahn & Tiffany
London.
Foster. London: Shakespeares Globe Publica-
New Globe Playhouse 1999 Season: 5pp. Online.
tions, 2003.
Sasaguchi,Rei.Japan Times.http://search.japantimes.
Internet. 16 August 2003.
New Globe Playhouse 2000 Season: 6pp. Online.
co.jp/print/features/theater2005/ft20050316a1.
Internet. 07 September 2003.
htm.
Stratford
Reviews: 9pp. Online. Internet. 17
Shakespeare s Globe Theatre. The Season of Regime
August 2003.
Change 2003 Edward II By William Shakespeare.
New Globe Playhouse 2003 Season: 8pp.
London: Shakespeare s Globe, 2003.
Imoseyama Onna Teikin.http://web-japan.org/museum/
Shakespeare s Globe Theatre. The Season of Regime
kabuki/kabuki01/kabuki 02.html.
Change 2003 Richard II By William Shakespeare.
Kabuki Program for March 2005. Ed. The Japan
Times. Tokyo: The Japan Times, 2005.
London: Shakespeare s Globe, 2003.
Shakespeare s Globe Theatre. The Season of Regime
Kagamijishi.http://www.clas.ufl.edu/users/jshoaf/Jdolls/
Change 2003 The Taming of the Shrew By
actdolls.htm.
William
Nagayama,Takeomi. Grand Kabuki Overseas Tours
1928 ∼1993. Tokyo: Shochiku Company, Ltd,
Shakespeare. London: Shakespeares
Globe, 2003.
Sonezaki Shinju.http://www.kabuki21.com/sonezaki
1994.
shinju.php.
Nightingale, Benedict. A London Season as Unset-
Thomson, R. Cast and credits for the 1996 prologue
tling as the Weather New York Times. 29 Aug.
season. 2pp. Online. Internet. May. 1998.
Tokubei(44)and Ohatsu (45).http://www.fictional100.
1999.
com/tokubei.html.
Orgel, Stephen. Impersonations: The Performance of
Gender in Shakespeare s England. Cambridge:
Yamamoto, Kenichi. 400 years of Kabuki. Asahi
Cambridge UP, I996.
Shimbun. 28 Nov. 2003.
Prusmack,Florence.http://www.distinguishedwomen.
com/biographies/okuni.html.
― 19 ―
(H 18.１.10受理)