![]() ![]() ![]() In the post-war period, there was a phenomenal growth in creative new dramatic works, which introduced fresh aesthetic concepts that revolutionized the orthodox modern theatre. Hōgetsu Shimamura and Kaoru Osanai were two figures influential in the development of shingeki. Japanese modern drama in the early 20th century consisted of shingeki (experimental Western-style theatre), which employed naturalistic acting and contemporary themes in contrast to the stylized conventions of kabuki and Noh. "Imitation of several people" ( 八人芸, Hachinin-gei )."Erotic stories" ( 人情噺, Ninjō-banashi ).The entrance fee, the "wooden door penny" ( 木戸銭, Kido-zeni ) was small. Towards the end of the Edo period, there were several hundred theatres, about one per district ( 町, chō). The term is the shortened form of Hito yose seki ( 人寄せ席, roughly "where people sit together"). Yose was a popular form of spoken theatre in the Edo period. Like Noh, however, over time, kabuki developed heavily into a set art form, with importance given to preserving the integrity of certain plays, down to using the same costume designs used several centuries ago. Traditionally, Izumo no Okuni is considered to have performed the first kabuki play on the dried-up banks of the Kamo River in Kyoto in 1603. ![]() Kabuki developed out of opposition to the staid traditions of Noh theatre, a form of entertainment primarily restricted to the upper classes. Styles of kabuki performance include the aragoto ("rough style") and onnagata ("female style") styles. Types of kabuki play include jidaimono (historical plays) and sewamono ("contemporary" plays), as well as shosagoto ("dance-drama") plays primarily focused around set dance pieces. Kabuki combines music, drama, and dance, often using period-accurate costumes and intense choreography. Triptych woodblock print by Utagawa Toyokuni III. The July 1858 production of Shibaraku at the Ichimura-za theatre in Edo. ![]()
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