Neo-Onnagata: Professional Cross-Dressed Actors and Their Roles
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Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Neo-onnagata: professional cross-dressed actors and their roles on the contemporary Japanese stage William Hamilton Armstrong IV Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Armstrong IV, William Hamilton, "Neo-onnagata: professional cross-dressed actors and their roles on the contemporary Japanese stage" (2002). LSU Doctoral Dissertations. 1446. https://digitalcommons.lsu.edu/gradschool_dissertations/1446 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. NEO-ONNAGATA: PROFESSIONAL CROSS-DRESSED ACTORS AND THEIR ROLES ON THE CONTEMPORARY JAPANESE STAGE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre By William Hamilton Armstrong, IV B.A., Clemson University, 1978 M.F.A., University of New Orleans, 1987 May 2002 © Copyright 2002 William Hamilton Armstrong IV All Rights Reserved ii Dedication I dedicate this dissertation to Setsuko, the exact center of my universe, supporter, gadfly, partner, friend, wife, co-parent, Ariel’s mama, amanuensis, translator, interpreter, and art-lover, without whom this dissertation would not be. iii In fact, the whole of Japan is a pure invention. There is no such country, there are no such people . The Japanese people are simply a mode of style, an exquisite fancy of art. Oscar Wilde iv This dissertation follows the convention of Asian Theatre Journal and other academic publications in presenting the romanized names of Japanese individuals in the order naturally used in Japan, that is, surname first followed by the given name (eg. Miwa Akihiro). v Acknowledgments In his 2000 best-seller in Japan and the United States, entitled Jiriki, Buddhist apologist Itsuki Hiroyuki opened with the acknowledgment that “everyone except me is a mentor.” So it is as well for me. Still, I owe special acknowledgment to the following for their significant contributions to the completion of this work: First of all, I wish to thank Charley, Rev. Charles G. Coyle, my soul-father, who made me what I am in so many ways. For that and much else, I am eternally grateful. I want to particularly acknowledge Dr. Leslie Wade, a truly wise and patient guide of graduate students, who dove into a sea of mud and pointed out the pearls at the bottom. For unwavering support, gentle but persistent encouragement, and a world of wisdom, I sincerely thank Dr. Billy J. Harbin. Dr. Jennifer Jones was a great inspiration and guide. In addition, I am indebted to Dr. John Henderson, whose one-on-one tutorial seminars on classical Japanese history gave me my first true understanding of the underpinnings of Japanese theatre. Dr. Lesley Ferris has been a motivating force. She always “got it” when I explained my ideas and is not done with me yet. My supportive colleagues, particularly Mark Zelinsky, Amy Cuomo-McConnell, Don Whittaker (especially Don), Gino Chelakis, Wendell Stone, Stanley Coleman, and Christine Mather, have endeared themselves for life through generous spirits and admirable commiseration. I wish to thank the primary artists, the neo-onnagata in this study. Miwa Akihiro is a grande dame absolutely dedicated to true elegance. Sasai Eisuke is a true and pure artist whose work continues to achieve excellence but whose highest achievement is his generosity of spirit. vi I sincerely thank Dr. Shimada Masafumi for believing in my work and introducing me to my post-doctoral mentor, Professor Hara Ippei of Nihon University Arts School, Sasai Eisuke’s first kabuki professor. Dr. Carol Fisher-Sorgenfrei, Dr. Samuel Leiter, Dr. David Savron, and Dr. David Goodman have all given various warm encouragements to me in my studies of contemporary Japanese theatre. This has meant a great deal to me. I particularly extend my deepest appreciation to family members who sacrificed much during my period of study, Seiko, Tetsuo, Yukiko, and Iichirou Miura, for unstinting cheer, warmth, and support during five months of research and six months of editing and typing in the storage closet. Haiku poet Miura Kogarashi (Shoujakushi) patiently answered many of my questions regarding classical literature, drawing from a reserve of deep knowledge and love of beauty. Angela, Brent, and Brianna Armstrong- Poole always have given unconditional love and a haven of respite. Finally, I owe a great debt of gratitude and a lot of quality time to Ariel Miura Armstrong, who “let Papa work.” vii Table of Contents Acknowledgments.......................................................................................................vi Abstract......................................................................................................................ix Chapter 1 Introduction (Dis-closures)...................................................................1 Historical Precedents...............................................................7 Aims of Dissertation................................................................11 Influences and Inspirations......................................................14 Organization of Chapters........................................................23 2 Cultural Phallos-ies: Performing Gender..............................................28 Phallic Festival........................................................................35 Phallic Rebellion......................................................................42 Phallic Nature.........................................................................47 Phallic Woman........................................................................50 3 Across Genres: Gender from Literature, Media and Text to the Stage.54 Societal Perceptions of Cross-Dressing...................................68 Birth of the Black Lizard........................................................71 4 “The Queen of Japan”: Miwa Akihiro..................................................88 The Mainstreaming of Drag: An American Export...................91 Miwa as Neo-Onnagata.........................................................103 5 Boku wa Onnagata: Sasai Eisuke......................................................124 6 Other Crossings.................................................................................161 7 Conclusions (No Re-dress)...............................................................183 Works Consulted......................................................................................................197 Appendix I- The Japanese View: History and Accommodation.................................223 Appendix II- Shinto..................................................................................................230 Appendix III- The Order of Procession for the Hounen Festival................................233 Appendix IV- Suzuki: White Radishes and Borrowed Views....................................238 Appendix V- Eijanaika: Peasant Uprising as Performance........................................248 Appendix VI- Jozoku (Lady Thief, Criminal Queen, Criminal Woman).....................257 Vita.........................................................................................................................302 viii Abstract Neo-Onnagata: Professional Cross-dressed Actors and Their Roles on the Contemporary Japanese Stage explores the representation of male and female gender in the contemporary Japanese theatre. I particularly discuss a specialized subset of Japanese actor: the neo-onnagata, a contemporary theatre counterpart to Japan’s highly stylized classical kabuki tradition of cross-dressed representation. This dissertation represents my attempt to provide these basic aims: to situate the contemporary Japanese cross-dresser in Japanese tradition, to show how cross-dressing acts as a sharp social commentary and mirror, and to introduce some little-represented cross-dressing actors of the contemporary Japanese stage to the academic community at large. In addition, I examine the conservative gender role system of Japan and demonstrate how the neo- onnagata challenge traditional performance and sex roles. Particularly, I seek to showcase neo-onnagata as expanding opportunities for male actors and as new gendered models for men. ix Chapter 1 Introduction (Dis-closures) In every human being a vacillation from one sex to the other takes place, and often it is only the clothes that keep the male or female likeness, while underneath the sex is very opposite of what it is above.1 Virginia Woolf Men are men but Man is a woman.2 C. K. Chesterton In world history, men have in repeated instances exhibited an impulse to dominate: land, goods, ideas, each other, and women. Regarding the historical oppression of women, men have accomplished subjugation in the private sphere, in public civil life, and in sites of cultural representation, specifically, the stage. There are various ways of dominating, but in all cases the dominated must be controlled. Male mastery has thus displayed