|
|
||||
|
|
|
|
Mark Oshima's article deals with the history and progression of the courtesan in Kabuki theater and how the onnagata (female impersonator) actor was very important to its history. He begins first with a brief history of Kabuki and its transformation into an all-male theater. He then describes the techniques used in the onnagata role which made it so special. These techniques consisted of extensive face paint, wigs and a very tight control over voice, tone and body shape. This difficult and meticulous control was touched off with a slight hint of maleness, either a forcefulness of voice or a slight showing of the male form. Oshima states that it was this accent of maleness on the female role that made the onnagata unique and special. Oshima then talks about a master of the form, Kikunojo I who helped define the onnagata role and became the first performer to act the part of the woman both on and off stage in order to maintain his skill. The piece then finishes with a description of onnagata plays and the great depth of character that was portrayed. Oshima usually refers to woodblock paintings when describing aspects of onnagata acting, which act as useful visual aids. Oshima's writing is clear and understandable, even when describing the many minute characteristics of onnagata technique. The article is an art history piece and so the woodblock paintings he uses to illustrate his point are a large part of the writing. The piece is very specific, and goes into depth on a significant but single aspect of Kabuki. There is some history, but it is not enough to serve as a good introduction to Kabuki theater. It is, however, a very approachable and interesting story of the onnagata, a very important part of Kabuki history. -Owen Strock |
|
|
home | intro | Edo | film | postwar | manga | syllabus
|
||||
