Nihon-buyō
Template:Short description Template:Italic title
Template:Nihongo3 refers to the classical Japanese performing art of dance.
Template:Transliteration developed from earlier dance traditions such as Template:Transliteration and Template:Transliteration, and was further developed during the early Edo period (1603–1867), through the medium of kabuki dances, which often incorporated elements from the older dance genres.<ref name="leiter">Template:Cite book</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Although the term Template:Transliteration means "Japanese dance", it is not meant to refer to Japanese dance in general, and instead refers to a few dance genres such as Template:Transliteration, which are performed in theatre.<ref name="izuha">Template:Cite journal</ref><ref>Template:Cite book</ref> Template:Transliteration differs from other varieties of Japanese traditional dance, in that it is a refined style intended as entertainment on a public stage.<ref name="nihonbuyou">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="izuha" />
The term Template:Transliteration is a modern term coined during the Meiji period (1868–1911) as a term for "dance", and the writer Tsubouchi Shōyō is believed to have been the first to use the term Template:Transliteration.<ref name="hahn">Template:Cite book</ref> Prior to this, dance was generally referred according to its particular dance genre, such as Template:Transliteration and Template:Transliteration. The term is a combination of the characters Template:Nihongo3, which can also be pronounced Template:Transliteration, and Template:Nihongo3, which can also be pronounced Template:Transliteration.<ref name=oshima>Template:Cite book</ref> Shōyō intended Template:Transliteration to be a term for Template:Nihongo, a form of dance drama in kabuki plays, but the term has now grown to cover several Japanese dance styles, including the modern dance form Template:Transliteration.<ref name="izuha"/> As a genre of dance that has multiple influences, borrows from many different dance traditions developed over a long period, overlaps with theatre and has many different schools, there is some difficulty in defining and categorizing Template:Transliteration.<ref>Template:Cite book</ref>
Definition
Wider definition
In the broad sense, Template:Transliteration refers to the dances Template:Transliteration, Template:Interlanguage link and Template:Interlanguage link.<ref>Template:Cite book</ref>
- Template:Nihongo - Template:Transliteration in the exact definition refers solely to Template:Transliteration alone
- Template:Nihongo or Template:Nihongo - dance born and developed in the region of Kyoto and Osaka (the Kamigata region). Template:Transliteration developed during the Edo period, and would be performed at private parties on a relatively small surface, such as the surface of one tatami mat. Its movements are slow and gentle. It can be accompanied by music (Template:Transliteration), composed for a Template:Transliteration soloist. It is also called Template:Nihongo, referring to the name of the room (Template:Transliteration) where it is practiced.
- Template:Nihongo or Template:Nihongo – Template:Transliteration has known European and American influences during the 20th century. In the Taishō period (1912–1926), Western arts-inspired writer Tsubouchi Shōyō proposed changes to the performance of kabuki theater, resulting in a new style of dance known as Template:Nihongo3, performed by artists wanting to experiment with a new form of expression.
Narrower definition
In the narrow sense, Template:Nihongo refers solely to Template:Nihongo.<ref>Template:Cite book</ref>
The term Template:Transliteration dates to the Meiji period. Until then, Template:Transliteration was referred to by various names such as Template:Nihongo, Template:Nihongo, Template:Nihongo or more simply Template:Nihongo.<ref name="Fujita76">Template:Harvnb</ref>
The choreographers of Template:Transliteration, whose first appearance dates back to around 1673,<ref name="Nihon Hōsō Fujita76">Template:Harvnb</ref> founded schools to teach this dance to amateurs.<ref name="Nihon Hōsō Kyōkai99">Template:Harvnb</ref> Template:Transliteration, listed as an important intangible cultural property since 1955, is performed by both a kabuki actor and a Template:Transliteration dancer.
Dance styles and elements
File:Nihon-buyō performance at the Kennedy Center.webm Unlike Noh, Template:Transliteration, kabuki and Template:Transliteration theater, which feature male performers, Template:Transliteration is also performed by women. There are two different dance styles taught in Template:Transliteration: Template:Transliteration, "female roles", and Template:Transliteration, "male roles".<ref name="Nihon Hōsō Fujita76"/> Thus, a woman can play a male role, and a man can play a female role.
Template:Transliteration has three main elements: Template:Transliteration, Template:Transliteration and Template:Transliteration.<ref name=":0">Template:Harvnb</ref> Template:Transliteration is a static and abstract movement with an emphasis on the ritual aspect, which is often present in the adaptation sequences of the nô theater;<ref>Template:Harvnb</ref> Template:Transliteration is a dynamic and rhythmic movement resulting from Template:Interlanguage link, a dance invented by a Buddhist monk around the 10th century;<ref name=":0" /> Template:Transliteration includes theatrical, dramatic and figurative body language (such as writing a letter, drinking sake, etc.), representing the actions of everyday life in the Edo period.<ref>Template:Harvnb</ref>
Influences
Kabuki
Template:Transliteration schools were founded by choreographers (who were originally kabuki musicians or actors), or by actors. These two backgrounds mean that both still share the same dance repertoire.<ref>Template:Harvnb</ref>
Noh
There are many Template:Transliteration plays which are inspired by Noh theater plays. The three major series of Template:Transliteration - Template:Transliteration, Template:Transliteration and Template:Transliteration - are adapted from the Noh plays Template:Transliteration, Template:Transliteration and Template:Transliteration,<ref>Template:Harvnb</ref> as well as the Template:Transliteration repertoire series, adapted from Noh during the Meiji period, with inspiration taken from the approach of kabuki adapting Noh dramas.<ref name="Hayashi 2001 165">Template:Harvnb</ref> For these plays, Noh dance (Template:Transliteration) is integrated into the choreography.<ref>Template:Harvnb</ref>
Even before the Meiji period, there were already Template:Transliteration-origin kabuki dance plays, but, like Noh, Template:Transliteration was much adapted after the Meiji period, and this repertoire was appropriated by kabuki actors of this period.<ref name="Nishikata 1988 130">Template:Harvnb</ref>
The Template:Transliteration plays Template:Transliteration, Template:Transliteration and Template:Transliteration, are acts in the kabuki plays adapted from Template:Transliteration, Template:Transliteration and Template:Transliteration.<ref>Template:Harvnb</ref>
In addition, during climaxes of Template:Transliteration plays adapted from Template:Transliteration (Template:Transliteration, Template:Transliteration), Template:Transliteration (a style of acting imitating the movements of puppets) is used: the character is supported by puppeteers standing behind him and moves as if he was a puppet.<ref>Template:Harvnb</ref>
Plays
Template:Transliteration plays consists mainly of kabuki dance plays (Template:Transliteration) created in the Edo period, such as Template:Transliteration and Template:Transliteration. In addition, there are plays choreographed with the kabuki dance technique.<ref>Template:Harvnb</ref> The themes of the plays are plentiful: legends, classical literature, historical figures, crime stories, and life and customs in the Edo period. There are also adaptations of Noh, Template:Transliteration, and Template:Transliteration theater.
Plays danced by one person take up about 60% of the repertoire, and plays danced by more than two people make up the rest of the repertoire. About 60% of the plays consist of pure dance plays without drama (metamorphosis play, Edo period daily life play, festive play), compared to around 40% dramatic plays.<ref>Template:Harvnb</ref>
Not all parts can be classified perfectly, but they can be roughly grouped into the following categories:<ref>Template:Harvnb</ref>
In the Noh play Template:Transliteration, the most sacred play mixing dance and prayer ritual for a bountiful harvest and prosperity, three characters, Okina, Senzai and Sanbasō, appear. The latter's dynamic dance gave rise to a series of Template:Transliteration repertoires in kabuki: the play Template:Transliteration is the most ritualistic, and the rest of the repertoire develops the more entertaining aspects for kabuki: Template:Transliteration, Template:Transliteration, Template:Transliteration, Template:Transliteration, Template:Transliteration, Template:Transliteration, etc.<ref>Template:Harvnb</ref>
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The Noh Template:Transliteration play, inspired by the myth of the Dōjōji temple, was adapted in the kabuki dance as Template:Transliteration, which then gave birth to the main series of the repertoire: Template:Transliteration, Template:Transliteration, Template:Transliteration, Template:Transliteration, Template:Transliteration, Template:Transliteration, etc.<ref>Template:Harvnb</ref>
The Noh play Template:Transliteration, in which the Buddhist monk sees mythical lions playing with peonies at Mount Seiryo in China, was adapted as an Template:Transliteration (female role) dance in the early kabuki period, resulting in the plays Template:Transliteration, Template:Transliteration and Template:Transliteration. It was around the Meiji period that the adaptation came closer to Noh: the majestic lion dance is performed by a Template:Transliteration (male actor) in the plays Template:Transliteration and Template:Transliteration.<ref name="Hayashi">Template:Harvnb</ref>
A number of Template:Transliteration center around stories of ghosts or phantoms.
- Template:Nihongo
- A newly-engaged man burns the letter of a courtesan, with whom he had a love affair. In the smoke, the spirit of the courtesan appears and speaks resentfully. The play, Template:Transliteration, gave variations such as Template:Transliteration (confession of Template:Transliteration (literally "castle-toppler", a moniker given to courtesans) Takao).<ref name="Hayashi" />
- Template:Nihongo
- Two characters with totally identical appearances dance together, and one reveals his true, ghostly nature: this style, which originated in a Noh play Template:Nihongo3, has become in vogue with many plays as Template:Transliteration from Template:Transliteration. The most famous plays are Template:Transliteration (the last act of the kabuki play Template:Transliteration) and Template:Transliteration. In these plays, the main character is a ghost with two spirits inside. The souls of two lovers who have killed each other come together in an vengeful half-male, half-female spirit.
Inspired by the category of Noh plays about madness, this theme was developed in dance plays from the earliest period of kabuki.<ref name="Nishikata">Template:Harvnb</ref> Apart from themes of madness in love, another common theme in Template:Transliteration is madness due to the loss of a child: in the Edo period, a child could be taken away to be sold to circus troupes. In Template:Transliteration, the central character of the child's mother commonly loses her mind to grief, and becomes a traveling artist who searches for her child, singing and dancing. In Noh, this theme is featured in the plays Template:Transliteration, Template:Transliteration and Template:Transliteration.
- Madness among men: Template:Transliteration, Template:Transliteration
- Madness among women: Template:Transliteration, Template:Transliteration, Template:Transliteration, Template:Transliteration.<ref name="Nishikata" />
- Description of the landscape
- For a long time in Japanese art there has been a style called Template:Transliteration which describes a journey to a destination.<ref name="Nishikata 1988 112">Template:Harvnb</ref> This theme was very popular with the people of the Edo period, as it depicted the freedom of travelling in contrast to the constriction of movement under the shogunate. However, travellers would also be depicted facing melancholy, such as retribution for wrongdoing or attachment to a person met along the journey they must leave.<ref>Template:Harvnb</ref> Template:Transliteration themes are found in the plays Template:Transliteration (Act VIII of the kabuki play Template:Transliteration), Template:Transliteration (Act IV of the kabuki play Template:Transliteration), Template:Transliteration (Act IV of the kabuki play Template:Transliteration).<ref>Template:Harvnb</ref>
- Double love suicide
- Since the play Template:Transliteration (double suicide in Sonezaki) by Chikamatsu Monzaemon, the genre of Template:Transliteration has been associated with themes of a double suicide: a couple consider killing each other at the end of their journey. There, character psychology is brought to the fore, and the description of the landscape becomes a background.<ref name="Nishikata 1988 112"/> Later, a new style entered into vogue: a peddler or a street artist intervenes during the couple's journey, remonstrating with them: Template:Transliteration (Act IV of the kabuki play Template:Transliteration), Template:Transliteration, Template:Transliteration.<ref>Template:Harvnb</ref>
In Template:Transliteration, the same actor transforms into different characters with a rapid change of costume, and plays between three and twelve (usually seven) characters, one after another – male and female of all ages, from different periods and of all social strata, animals, apparition, and gods.<ref name="Nishikata 1988 122">Template:Harvnb</ref> Template:Transliteration was very popular at the start of the 19th century, particularly with the two great actors Bandō Mitsugorō III and Nakamura Utaemon III, who competed to develop this genre.<ref>Template:Harvnb</ref> Today, the genre of Template:Transliteration is broken down into several plays, one for each character, which are performed independently, like the famous play Template:Transliteration, which was originally the first part of a series of five quick-changes: the girl changes into a Template:Nihongo, a Template:Nihongo, a Template:Nihongo and a boatman. Nowadays, many quick-change plays no longer exist in their entirety, with one exception: Template:Transliteration (six great poets), a play of one performer transforming into 5 poets, for which all 5 quick-changes are still extant and known of.
The most famous Template:Transliteration plays are Template:Transliteration, Template:Transliteration, Template:Transliteration, Template:Transliteration, Template:Transliteration, Template:Transliteration, Template:Transliteration and Template:Transliteration.<ref name="Nishikata 1988 122"/>
- Traditional festival (Template:Transliteration): The pleasure of popular life was undoubtedly the Template:Transliteration and many pieces on this theme show the people's passion for this festival: Template:Transliteration, etc.<ref name="Nishikata 1988">Template:Harvnb</ref>
- Annual events: Template:Transliteration, etc.<ref name="Nishikata 1988" />
- Peddler: The variety of occupations among the citizens of Edo was surprising, including a peddler or a street performer, who animated the city of Edo. A peddler was not just a salesman, but was accompanied by various performances or songs, sometimes comical, to attract children, and in some cases with an extravagant costume: Template:Transliteration, etc.<ref>Template:Harvnb</ref>
- Street artist: Template:Transliteration, etc.<ref>Template:Harvnb</ref>
- Noh: In the Edo period, when belonging to the warrior class was distinguished from the kabuki which was an entertainment of the popular classes, the adaptation of Noh in the kabuki dance tended to move away from the original piece by completely changing the context, the characters, and the staging. However, in the Meiji era, when the kabuki tried to renew the popular image by introducing the Noh of a high dress, the adaptation of this medieval theater was made by approaching this noble taste, while keeping the content and style of the original piece: Template:Transliteration, etc.<ref name="Hayashi 2001 165"/>
- Template:Transliteration: Like Noh, Template:Transliteration was adapted in kabuki dance after the Meiji era: Template:Transliteration, etc. However, even before this period, there was already an adaptation of Template:Transliteration, such as pieces Template:Transliteration, etc., but it was transformed into kabuki style.<ref name="Nishikata 1988 130"/>
The Template:Transliteration genre, which already existed in the Edo period in the field of music, consists of pieces created to celebrate the founding of a new school, the inheritance of a name or the inauguration of an establishment etc. Also, around the beginning of the Meiji era, musicians broke away from the kabuki world, and school leaders performed new pieces every New Year. These festive pieces, celebrating prosperity and auspiciousness, were given choreography, often in the style of Noh dance: this genre is called Template:Transliteration, presented in general in the style called Template:Transliteration (dance with the kimono or the Template:Transliteration, without costume): Template:Transliteration.<ref>Template:Harvnb</ref>
Schools
Japan has about two hundred nihon-buyō schools, including the "five great schools":
- Template:Nihongo founded in 1849 by Hanayagi Jusuke I, who was a disciple of Nishikawa Senzō IV.<ref>Template:Harvnb</ref> This is the school with the most disciples.
- Template:Nihongo founded by Fujima Kanbei Ist during the Hōei era (1704–1711).<ref>Template:Harvnb</ref>
- Template:Nihongo founded in 1893 by Wakayagi Judō I, who was a disciple of Hanayagi Jusuke.<ref>Template:Harvnb</ref>
- Template:Nihongo founded by Nishikawa Senzō I during the Genroku era (1688–1704). At the origin of many schools, it is the oldest school of Template:Transliteration.<ref>Template:Harvnb</ref>
- Template:Nihongo founded by Bandō Mitsugorō III, kabuki actor representing the Kasei period (1804–1830).<ref>Template:Harvnb</ref>
Notable people
- Masumi Uno (born 1932)
References
Bibliography
- Template:Cite book
- Template:Cite book
- Template:Cite book
- Template:Cite book
- Template:Cite book
- Template:Cite book
External links
- Nihon-buyō Association The main organisation for nihon-buyō
- Nihon Buyo Foundation on nihonbuyo.or.jp
- List of Kabuki dance plays on Kabuki Play Guide
- List of Kabuki dance plays on Kabuki21.com
- List of Kabuki dance plays on Invitation to kabuki