En 1604, elle ouvre une scène semi-permanente au sanctuaire de Kitano Tenmangu à Kyōto, où elle avait fait sa première apparition costumée en kabuki-mono l'année précédente, puis se produit en 1607 au château du shōgun à Edo, aux côtés des compagnies de nō Kanze et Komparu[2]. Il est aussi possible qu'un assistant vienne sur la scène pour aider au changement de costume (hikinuki[15]).

Les hommes sont relégués à des rôles comiques de saruwaka, qui rappellent les intermèdes d'ai-kyōgen dans le théâtre nō. In 1629 an official ban was released by the Shogunate rule that females were no longer allowed to perform on kabuki stages (Scott 34).

And it was when Okuni dressed a man, wielding a sword on each hip, in her dances that her husband gave the new art a name. Sa sensualité est surtout offerte par sa silhouette de dos, dans ces poses renversées en arrière qu'affectionnent ces danses, dans la lignée ondoyante qui descend de sa nuque dévoilée…" (Tschudin 2011 :352). Having faced governmental restrictions and traditional scorns just as the Greeks, Spanish and English, kabuki is still climbing the feminist ladder. Dans le cadre des rôles féminins, on insiste cela dit moins sur le caractère des personnages que sur leur rang, leur âge ou leur fonction, car il s'agit rarement de rôles de premier plan. Scenery changes are sometimes made mid-scene, while the actors remain on stage and the curtain stays open.

[9], The focus of kabuki performances also increasingly began to emphasise drama alongside dance.

This stage was first built in Japan in the early eighteenth century. This article is about Japanese theater. Ed.
The kabuki stage features a projection called a hanamichi (花道) (lit., "flower path"), a walkway which extends into the audience and via which dramatic entrances and exits are made. Women were to be first replaced by what is known as Wakashu, or Young Men’s Kabuki, but they too were determined to be an immoral danger because of their charms. Although it actually began with the dancing performances of a single woman, it has since been taken over by all-male troupes. As stated before, the man playing a woman makes this choice consciously, but a woman could too also make the decision in her mind to become a smaller, more fragile version of herself in order to fulfill her stage requirements.

Better yet, they wouldn’t even need the large wigs as they could just grow out their hair and style it to the way a wig would have been placed on the head.


Thornbury, Barbara E. "Sukeroku's Double Identity: The Dramatic Structure of Edo Kabuki". L'influence de la femme sur le kabuki est donc primordiale sur son développement. (Brockett 279). Again, another step away from the all-female presence of kabuki’s beginnings can be observed. Dans le théâtre japonais, ces signaux sont codifiés et connus sous le nom de kata[1]. Adding women back could have done just that, bringing kabuki back closer to its roots rather than drift farther apart through the 1950s and 60s that saw much mixing of culture. Ces motifs sont peut-être précisés sur la page de discussion. Au sein d'une même pièce de kabuki, il est possible de faire une transition fluide entre les genres et de passer du comique au tragique, du dialogue le plus prosaïque à un lyrisme poétique, mais un répertoire de base est mis à disposition des dramaturges pour satisfaire autant le public que les acteurs par la présentation de tableaux convenus, ou "scènes à faire".

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