Japanese theatre

Traditional Japanese theatre includes Kabuki, Noh (and its comic accompaniment, Kyōgen) and the puppet theatre, Bunraku.

The early existing Kyogen scripts date from the 15th century. Kyogen was used as an intermission between Noh acts—it linked the theme of the Noh play with the modern world by means of farce and slapstick. Noh played to the high level class, but there were occasions where Noh was performed for common audiences. Unlike Noh, the performers of Kyogen do not wear masks, unless their role calls for physical transformation. Although they were both very popular forms of theatre, commoners were often in higher attendance for Kyogen performances.

Both men and women were allowed to perform Kyogen until 1430.

The best known form of Japanese theatre is Kabuki. It combines music, drama, and dance. Its fame comes from the wild costumes and sword fights employed in this form (until the 1680s, real swords were used). Kabuki grew out of opposition to Noh — dramatists wanted to shock the audience with more lively and timely stories. It is told to have been first performed by Okunis in 1603. Like Noh, however, Kabuki also became a stylized, regimented art form and is still performed in the same fashion.

As a matter of interest, the popular Gekidan Shinkansen, a theatrical troupe based in Tokyo today, insists it follows pure kabuki tradition by performing historical roles in a modern, noisy, and outlandish way characteristic of this theatrical method. Whether or not they represent traditional kabuki, however, remains a matter of debate and personal opinion.

Puppets and Bunraku were used in Japanese theatre as early as the Noh plays. Medieval records prove the use of puppets actually in Noh plays. The puppets were 3- to 4-foot-tall (0.91 to 1.52 m) dolls manipulated by puppeteers in full view of the audience. The puppeteers controlling the legs and hands are dressed entirely in black, while the head puppeteer is wearing colorful clothing. Music and chanting is a popular convention of bunraku, and the shamisen player is usually considered to be the leader of the production.

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Wikipedia