INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type ofcomputer printer. The quality ofthis reproduction is dependent upon the quality ofthe copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced fonn at the back ofthe book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zeeb Road, Ann Arbor MI 48106·1346 USA 313/761-4700 8001521-0600 YOSHITSUNE SENBON ZAKURA: THE VISUAL DIMENSION IN A KABUKI PERFORMANCE A DISSERrATION SUBMITIED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII IN PARrIAL FULFILLMENT OF THE REQUIREMENTS FORTHE DEGREE OF DOCTOR OF PHILOSOPHY IN DRAMA AND THEATRE DECEMBER 1995 By Beverly Angelique Taylor Dissertation Committee: JmnesBrandon,Chronnan Dennis Carroll Kyoko Hijirida Roger Long Willa Tanabe Arthur Thornhill Elizabeth Wichmann OMI Number: 9615556 Copyright 1995 by Taylor, Beverly Angelique All rights l'eserved. UMI Microfonn 9615556 Copyright 1996, by UMI Company. All rights reserved. This microfonn edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 iii c Copyright 1995 by Beverly Angelique Taylor All Rights Reserved tv This dissertation is dedicated to the memory ofYamada Chic. v ACKNOWLEDGEMENTS Itis with deepest appreciation that I wish to thank. Miyazaki Kyoichi, Executive DirectorofShochiku, Ltd., Japan, and NakanoMasao,Theatrical Director ofShochiku, for their magnanimous kindness, concern and help. Without this assistance, it would have been impossible for me to do the necessa.zy research at the Kabuki-za Theatre, a prerequisite for this dissertation. With heartfelt gratitude, I want to acknowledge Great Kabuki Artists Ichikawa Ennosuke III and Nakamura Ganjiro III, and their respective troupes, who met with me to discuss the fine points of the art of kabuki and encouraged me towards the pursuit ofexcellence in this unique area. Most gratefully and humbly, I would like to thank. my Sensei; Onoe Kikunobu (Nihon Buyo), Shoji Kakuko (Nihongo) and Yamada Chie (Shamisen). Their dedication, devotion and scholarly skill in the areas of Japanese Culture have been an inspiration for me. For all my Doctoral Committee: Chair, James Brandon (Kabuki Theatre), Dennis Carroll (Western Theatre), Kyoko Hijirida (Japanese Language), Roger Long (Southeast Asian Theatre), Willa Tanabe (Dean of The School ofAsian and Pacific Studies andJapaneseArt Scholar), Arthur Thornhill (Noh Scholar), and Elizabeth Wichmann (Chinese Theatre); my appreciation for their helpful advice and scholarly example. vi In particular, I want to thank Professor James R Brandon, my Graduate Advisor and Committee Chair, for his helpful advice with the writing and presentation of this dissertation. To my UndergraduateAdvisor Professor Emetrius Freda Harrington, and my former Graduate Advisor Professor Ben Thompson, I wish to express myindebtednessandgratitudefor continuedgUidanceandsupport throughout the years. I would like to acknowledge my appreciation for the Grants and Awards I received from the East-West Center in Honolulu and the Center for Japanese Studies at the University ofHawaiiwhich enabled me to press forward my dissertation to completion. Last, butnot least, I wish to thank my daughter Heidi Rose, who has always been my primaIY source ofencouragement. All these years, shewas ever-optimistic and cheered me on the difficult road towards completion of a Ph.D. in the area of my heart's fondest dream. vii ABSTRACT This dissertation is the first to examine the visual dimension seen in the kabuki perfonnance ofYoshitsune SenbonZakura, one ofthe ''Three Great Masterpieces" of maruhon kabuki, and a classic of traditional Japanese theatre. Everythingseeninkabuki perfonnance is the resultofa meaningful innerdynamicwhich expresses itselfina unified stage creationas a result ofthe:interrelationshipand coordinationofdiverse perfonnance elements. The synthesis of these components provides discemable clues to the audience about the characters' identities and relates the message of the play. This creative process is conveyed visually through various kata, which are established fixed fonns. Among the key issues analyzed are the historical circumstances which brought about the fixed fonns of kata, and the process by which kataconvey meaning through theirunique expression and interpretation. Japanese cultural traits reflect various aesthetic preferences seen in conventions adapted to the kabuki stage dUring the fonnative Edo period, as well as other conventions created for dramatic expressiveness. A heritage of heterogeneous predilections resulted in a stylization of fonn seen throughout kabuki perfonnance. Besides literaIY research, my methods of inquiry into this topic consisted of direct observational research at kabuki perfonnances, viii personal experience as a student ofkabuki perfonnance techniques, and my participation as an actor in a kabuki production. The dissertation is arranged into three major sections which comprise a comprehensive analysis. The first part covers the creation and interpretation of kabuki and includes an introductory chapter which discusses authoritative literature on the visual nature of kabuki as a whole and the kata which constitute it. A second chapter discusses the historical and traditional developments which influenced the visual dimension of Yoshitsune Senbon Zakura. Part Two delineates specific kata seen in the Yoshitsune Senbon Zakura perfonnance: role type kata such as aragoto, wagoto, onnagata, and kitsunegoto; appearance katasuch as makeup, costumes, headwear, props, and perfonnance area.; and movement kata such as bukkaeri, hikinuki. danmari, keren, mie, roppa, and tachimawarL The final part is a perfonnance-oriented interpretive translation of Yoshitsune Senbon Zakura, 'The Tadanobu Section," from the December 1992 perfonnance at the Kabuki-za Theatre in Tokyo. Each of the five scenes is preceded with a cast listing, a synopsis, and a description ofthe stage setting. The synthesis of all the various kata in the visual presentation described culminates in an organic whole in kabuki perfonnance. ix TABLE OF CONTENTS Acknowledgements ................................. .. v Abstract vii List of Illustrations ................................... xi PART I: CREATION AND INTERPRETATION OF KABUKI Chapter One: Introduction 1 Purpose and Scope 3 Justification 7 Methods ofInqully 12 Chapter Two: mstorical and Traditional Influences on The Visual Dimension of Yoshitsune senbon Zakura ............ .. 44 Chinese Influences 44 Heian (Kyoto) Court Customs. ...................... .. 55 Kamakura Period 60 The Influence of Divergent Tastes 63 The Development of Edo 71 PART II: KATA SEEN IN YOSffiTSUNE SENBON ZAKURA Chapter Three: Role Type Kata 104 Aragoto ...................................... .. 110 Wagoto 115 011Tlagata ............... .. 117 Kitsunegoto 121 Chapter Four: Appearance Kata 123 Makeup 123 Costumes 142 Headwear .................................... .. 158 Props 170 PerlormanceArea 183 x Chapter Five: Movement Kata 210 Bukkaeri and Hikinuki ........................... .. 210 Hayagawari 215 Danmari ..................................... .. 216 Keren 218 Mie 221 Entrance and Exit Kata .......................... .. 226 TachiTnawari .................................. .. 229 PART III: THE YOSHITSUNE SENBON ZAKURA PERFORMANCE Chapter Six: Overview of The Performance ............ .. 233 Chapter Seven: The Tadanobu Section 251 Before Torti Gateway To Inari Shrine At Fushimi 251 Journey With The Drum Hatsune 276 Kawatsura Mansion At Yoshino .................... .. 307 Inner Garden ofMansion ......................... .. 334 Before zaod6 Hall 341 Chapter Eight: Conclusion 349 Illustrations 366 Bibliography 384 xi LIST OF ILLUSTRATIONS 1. Painting of Performer Alleged to be Okuni 366 Actress, dressed in male costume, leaning on sword in kabuki performance. 2. Before Gate ofFushimi Inari Shrine 367 Yoshitsune bids farewell to Shizuka and gives her the drum Hatsune. 3. The Parting ofYoshitsune and Shizuka ........... .. 368 Tadanobu-kitsune stops Shizuka from following Yoshitsune. 4. Tadanobu's Exit (first scene) 369 Tadanobu-kitsune executes semi-kitsune roppo along hanamichi. 5. Shizuka Enters on Hanamichi (second scene) ...... .. 370 Shizuka, a beautiful shirabyoshi dancer, follows her lover Yoshitsune. 6. Tadanobu Appears Mter Shizuka Strikes Drum 371 Tadanobu-kitsune rises mysteriously on suppon of hanamichi. 7. Struggle