Gerstle, C. Andrew. "Flowers of Edo: Eighteenth-Century Kabuki and Its Patrons." Asian Theater Journal. Volume 4, Issue 1, 1987. 52-75.

This article by C. Andrew Gerstle is a relatively short piece which addresses the different audiences of Kabuki during its most popular period. It begins with an explanation of how the reserved atmosphere of modern day Kabuki theaters is a far cry from classical audiences. These audiences were much more unruly and controversial and treated Kabuki as edgy and exciting entertainment, not as a classical art form. Gerstle states that this is why many believe Kabuki was a theater of the masses and that it did not appeal to the nobles and ruling classes of its day. Gerstle shows, however, that though Kabuki was opposed by the upper classes and the governments, many samurai and powerful leaders were as infatuated with the art form as the commoners and the merchants. Gerstle then spends a great deal of the piece explaining how Kabuki influenced and interacted with its audiences and popular culture, and how this often spilled over into the ruling classes. His ultimate thesis is that it was this unique and strained relationship with the nobles, who acted as both opponents and patrons,that gave Kabuki much of its edge and strength. Gerstle asserts that this contradiction bred greatness, something that has been somewhat lost by Kabuki's officialization.

C. Andrew Gerstle's article is readable and an interesting. In his explanation of Kabuki and its impact on popular culture he uses many good details that draw you in and make the facts digestable. The problem with the article, however, is that it is difficult to understand the ultimate point of the piece. The writing seems to move from subject to subject a little erratically and it is hard to find the common theme. The thesis, however, is ultimately understandable as well as insightful and because the piece is not incredibly long, the rambling is limited.

-Owen Strock