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論 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)