Ri primeraki

Anatolia College
May 2010
Research Investigation HL
Word count: 2092 (excluding textual references)
How would the Kabuki actor look when performing the role of Sukeroku
from Sukeroku: Flower of Edo by Ichikawa?
Ourania Primeraki
D-001005-051

Ourania Primeraki D-001005-051
Contents
Title Page....................................................................................................................01
Contents......................................................................................................................02
Introduction................................................................................................................03
Costumes....................................................................................................................05
Wigs and Make-up....................................................................................................12
Significant Props........................................................................................................15
Conclusion..................................................................................................................17
Critique of Sources....................................................................................................18
2

Introduction
Kabuki is a type of Japanese theatre, very well known for its stylized
acting and the elaborate costumes and make-up. It firstly appeared during the
Edo period, early 17th
century, and was developed by Izumo no Okuni1
as a
new style of dance. It was known as “Onna Kabuki” or women’s kabuki and
it was popular among all classes2
. However, women were prohibited on stage
in 1629 due to moral issues and were replaced by young boys, who were
eventually replaced by men. Yaro Kabuki required men only and did not rely
on “physical charm”3
as in the past. It is said that the term “kabuki” comes
from the word “kabucu”, meaning “to be unusual or out of the ordinary”4
and
it is also a combination of the syllables “ka”, song, “bu”, dance, and “ki”
which means art or skill5
. The dialogues consist of rhythmical meters that
create a highly stylized intonation while the same stylization also exists in the
actors’ movements, as there are specific positions for different moments in the
play, such as the strong position of mie. Other important elements are the
orchestra, that is on stage and is a part of the general stage design and the
stage itself, and also the hanamichi which is an extension from the left of the
stage, creating a bond between the actors and the audience.
Kabuki plays are divided in three categories: the jidaimono plays that
are about historical stories, the shosagoto that are dance pieces and the
sewamono plays that are about the domestic life of people and the human
nature. Sukeroku: Flower of Edo or simply Sukeroku is a sewamono play as it
refers to the efforts of Sukeroku to find his father’s killer. It consists of two
scenes and takes place in Edo's licensed red light distinct. Sukeroku, a young
man in love with the courtesan Agemaki, is searching for the killer of his
1
Bowers, Faubion. Japanese Theatre. New York: Hermitage House, 1952, p. 43
2
Ernst, Earle. The Kabuki theatre. New York: Oxford UP, 1956, p. 10
3
Scott, A. C. The Kabuki theatre of Japan. London: George Allen & Unwin, p.36
4
Ernst, p. 10
5
Cavaye, Ronald. Kabuki: a Pocket Guide. Rutland, Vt.: C.E. Tuttle, 1993, p. 20
3

father. He knows that the killer has his father’s sword so he provokes
samurais to fight him in order to see their swords. When his brother and
mother scold him for not taking revenge, he explains his plan to them. Ikyo,
who, like Sukeroku, is attracted to Agemaki, is the only samurai whose sword
Sukeroku has not seen. When Ikyo produces his sword, that is actually the
one Sukeroku’s father used to have, Sukeroku kills him.
Sukeroku is the main character of the play and he is the brave young
hero, an Edokko. He is a young fighter who tries to find the man who killed his
father, which makes him a tateyaku figure that is a “loyal, good or
courageous”6
male character.
Costumes
6
Scott, p. 168
4

The costume, or ishō,7
differs in order to suit the personality of the
character, according always to the type of character; for example a samurai,
an old lady or a young boy must have some certain characteristics on their
costumes identifying who they are. This way, the spectators familiar with the
Kabuki Theatre are able to understand the status and characteristics of each
part from the very first moment the actor appears.
Sukeroku’s costumes were usually donated by shopkeepers, due to the
popularity of the role8
and in the end of Sukeroku’s dance on the hanamichi, he
would bow towards the audience expressing his gratification towards the
shopkeepers9
.
In total, he has three different kimonos: the one he appears in, the one
his mother gives him and the one he wears in the second act.
Upon his first entrance, he wears high clogs which he later takes off
and puts a pipe between his toes as an insult to Ikiu: “Kicking off one clog, he
plops down on the bench, slaps the pipe between his toes, and thrusts his leg
insultingly in Ikyu's direction“10
.
He “is dressed in a solid black kimono piped in red and pale blue. An
elaborate brocade sash is figured with the Ichikawa acting crest” 11
. The
kimono is a garment with loose sleeves covering the whole body, while the
sash bounds it around the waist12
. The beautiful colors of the clothing make
him a “striking theatrical figure”13
. The chorus admires his kimono,
7
Scott, p. 135
8
Bowers, p. 111
9
Ibid, p. 193
10
Brandon, James R. Kabuki: Five Classic Plays. Honolulu: University of Hawaii, 1992, p. 65
11
Ibid, p. 63
12
Scott, p. 136
13
Kincaid, Zoë. Kabuki: The Popular Stage of Japan. London: Macmillan, 1925, p. 268
5

mentioning the “Impregnated kimono crest of Five Seasons; symbol of year's
waiting, steeped deeply in love”14
.
Fig 1: The kimono Fig 2: A sketch of the costume
The crest is a “design that represents something that is important to a
family”15
. In the case of Sukeroku the peony crest shows a peony, a popular
flower in Japan, with green leaves on top, representing the five seasons (in
Japan there are five instead of four seasons: summer, the rainy season, fall,
winter and spring16
).
14
Brandon, p. 63
15
http://www.harn.ufl.edu/pubs/kimonofamily.pdf
16
http://www.joshuazimmerman.com/?p=1870
6

Fig 3: The crest
Sukeroku is known for the “purple headband”17
he wears in the first
act. The headband, or hachimaki, is a cotton strip of clothing about “two feet
long and ten inches wide”18
and it shows that Sukeroku sympathizes with the
common people.
Fig 4: The headband
Its purple color, known in Genroku as the "Shogun's purple" is
associated with wealth: the red dye (beni) was imported only from China and
17
Kincaid, p. 268
18
Ernst, p. 161
7

was rarely found among the common people, which is why Sukeroku refers
to it as “the pride of Edo”19
. This color appears both on his head and on his
feet as socks (tabi)20
. This way, he shows that he “rivals the ruler in wealth and
publicly flouts him, the highest authority in the country”21
. Finally, purple is
the color of love, as suggested by a poem in Kokinshū, in which the chorus
alludes: “A headband such as this one in times long ago; spoke through its
purple color of abiding ties”22
.
Later on in the first act, during a fight scene, Sukeroku takes his clogs
off: “[He] kicks off his clogs, ready to fight”. In contrast to courtesans who are
barefooted, male roles require the use of a type of sock, known as tabi. They
are part of the formal dress and not wearing them “signifies poverty or
distress, or an inferior status in society”23
. They are also practical and
important for the actor.
In the same scene, Sukeroku also “slides the kimono from his right
shoulder to free his arm for action”24
. The kimono is made such way that the
sleeve is detached from the body below the armhole, a part called furi.
However, the furi is so long that it almost reaches the waist, which is why it is
hard for the actor to perform the fight scene. Later on, he puts it back and
wears his clogs again.
19
Brandon, p. 71
20
Bowers, p.180
21
Ibid, p. 180
22
Brandon, p. 63
23
Scott, p. 30
24
Brandon, p. 73
8

Fig 5: The Parts of the kimono
When his mother, Manko, enters disguised, Sukeroku does not
recognize her from the very beginning. As soon as he realizes it is his mother
the one he teases, he takes his clogs off in order to show his respect. Manko
orders him to wear a “paper robe”25
, the “fragility [of which] will counsel
[him] in patience”26
. The robe is probably a kamiko, which is a paper kimono27
worn by the character of the young lover who has lost his social position28
,
which is why Manko states that Sukeroku will have to bear the humiliation of
wearing it29
. Throughout the play, the actor must wear this kimono
underneath the one in which he makes the first appearance. This is due to the
long time taken to wear a kimono. Kamiko in Kabuki theatre is more delicate,
which is why Sukeroku appears in “a soft, silk kimono of dark purple and
lavender sections, the latter with writing on them”30
and it resembles the
kamiko Fujiya Izaemon wears in Love Letter from the Licensed Quarter31
, which is
“the conventional representation of a kimono patched together from love
25
Brandon, p. 82
26
Ibid, p. 82
27
Cavaye, Ronald, Paul Griffith, and Senda, Akihiko. A Guide to the Japanese Stage From
Traditional to Cutting Edge (Origami Classroom). JAPAN: Kodansha International, 2004, p. 136
28
Scott, p. 142
29
Brandon, p. 82
30
Ibid, p. 82
31
Ibid, p. 13
9

letters”32
. The robe and his promise to his mother make it difficult for him to
fight Ikyo. However, towards the end of Scene 1 it is torn33
, which enables him
to fight.
Fig 6: Fujiya Izaemon’s kamiko in Love Letter from the Licensed Quarter
Fig 7: Sukeroku in his kamiko (on the right is Agemaki)
32
Ibid, p. 82
33
Ibid, p. 87
10

In the second act he appears wearing “a simple white kimono, tied
with a pale blue sash, and white leggings”34
. The white color is a symbol of
death35
and the use of it is justified by Ikyo’s death.
Fig 8: The white kimono
34
Brandon, p. 88
35
http://webdesign.about.com/od/color/a/bl_colorculture.htm
11

Wigs and Make-up
The wigs, or katsura, are made of real hair, usually black. Each wig is
made especially for an actor and the procedure of making adjustments in
order to fit is called awase36
. The main parts of any wig are: “the mae gami, the
hair above the forehead or front hair, the bin, the sweep of hair at either side
of the face, the tabo, the coil of hair in the nape of the neck, and the mage, or
knot, on the top”37
. The wigs for male role actors are quite realistic and
resemble the hair styles used in old Japan. Even though there is no
information about how Sukeroku’s wig should look like, from pictures it can
be deduced it is of the sakayaki style: The front half of the head is hairless,
usually shaved. The hair remaining behind is gathered up into a knob at the
back of the head to complete the toilet 38
.
Fig 9: Sakayaki hair
The make-up, also known as kesho, is used in Kabuki theatre to
exaggerate the muscular delineation of the face and the emotional
expressions39
. The lack of good lighting raised the need of bold make-up,
while the existence of type roles established the standardized make-up40
. The
use of painted faces, a tradition known as kumadori, in Kabuki theatre was
36
Scott, p. 128
37
Ibid, p. 130
38
Saito, R. Japanese Coiffure. Trans. G. Mori. Tokyo: Board of Tourist Industry, Japanese
Government, 1939, p. 24
39
Scott, p. 122
40
Ernst, p. 181-182
12

initiated by Ichikawa Danjuro I ( 1660-1704), who was probably influenced by
the theatre of the Ming Dynasty ( 1368-1644)41
. Also, since each type of
character has a different style of make-up, kumadori can also define the
character. The whole face is painted white with oshiroi, “a matt white cream
which gives a smooth surface”42
. There are symmetrical curves of the painted
brows, cheeks, eyes and mouth blue, associated with evil, or red, showing
virtue43
. In order to put the make-up, one must wear the habutae, a silky cap
that acts as a foundation for the wig. Before the oshiroi is added, an oily
foundation is applied.
Sukeroku has a mukimi make-up44
, which is for young and handsome
heroes. It accentuates the human side of the character by highlighting “just
the lips and around the eyes”45
.
Fig 10: Sketch of the make up
On the white background, there are red straight lines around the eyes
at a small angle. Those under the eyes curve up and almost meet the tip of the
eye-brows. Also, “the top lip is outlined as a thin curve in red, with a touch of
41
Scott, p. 122
42
Ibid, p. 124
43
http://www.comm.unt.edu/histofperf/nonwest/zsohar/copy_of_japanesetheatr/Kabuki
%20Costumes.htm
44
Scott, p. 124
45
Cavaye, Griffith, Akihiko, p. 73
13

black at each corner, which imparts a downward twist to the line of the
mouth”46
. As the text suggests, “Thin but bold lines of red and black highlight
the pure white makeup of his face”47
. The red neckcloth matches the red
outline of the eyes but also accentuates the expressions of the face due to the
antithesis between the bold red and the deadly white48
.
Fig 11: Sukeroku’s make-up
Significant props
46
Scott, p. 124
47
Brandon, p. 63
48
Kincaid, p. 268
14

Kodōgu, which are the small stage properties, are divided into two categories:
the dedōgu, which are on stage during performance, and the mochidōgu, that
are held by the actors49
. The latter ones affect the movement of the actors and
they sometimes play a great role. Sukeroku appears with a half-shut “oiled-
paper umbrella with a bamboo framework decorated with a bull’s eye
design”50
.
Fig 12: The Umbrella
The umbrella is known as janome-gasa and in this play it is noted for its
color, a “curious dull indigo”51
. This color is known as "Between the
Mountains" (yama ai zome), a name associated with the colors of the two
mountains Fuji and Tsukaba. Tokyo is between them and during sunset the
colors that lay on the mountains are indigo and black. The mixing of these
colors gives the unique shade of Sukeroku’s umbrella52
. Sukeroku in some
performances has also appeared with a black and white umbrella.53
The
umbrella is an integral part of his appearance: in the early years of Kabuki the
49
Scott, p. 143
50
http://www.jnto.go.jp/eng/indepth/history/experience/x.html
51
Bowers, p. 180
52
Ibid, p. 180
53
Kincaid, p. 268
15

actor had to pass along the hanamichi, so that the audience could admire the
actor. This custom was later abandoned but is still seen in Sukeroku.
Sukeroku’s swaggering on the hanamichi before going onstage distinguishes
him from the very first moment as the young idol. 54
The umbrella enables him
to change several poses, thus appearing like the “bravery and fighting spirit
of an otokodate”55
willing to help the weak ones. Also, the audience is sure that
there will be a conflict with Ikyo.
Conclusion
54
Scott, p. 110
55
Kincaid, p. 269
16

Sukeroku is one of the most popular Kabuki theatre plays. The main
character, Sukeroku, is the young fearless man who wants to find the killer of
his father. The several changes of his clothing are a part of the plot, but can
also show the different aspects of his character: he is not the chivalrous man
many think or the lover who seeks company; on the contrary, the audience
realizes that he is a man with beliefs about family. The purple color shows the
indignation towards the rulers and wealth and the make-up and wig
accentuate certain aspects of his character, such as his virtues and distinguish
him from the other characters. Finally, the umbrella is one of his main traits
and it enables him to walk on the hanamichi being admired by the audience
and showing his position in the play. As all the characters of Kabuki theatre,
the way Sukeroku appears on stage is very specific and his appearance is
what characterizes him and shows his personality.
Critique of Sources
17

Published Works
1) Bowers, Faubion. Japanese Theatre. New York: Hermitage House, 1952
Japanese Theatre is a book that exhibits the history of kabuki theatre. It
introduces the reader to this tradition of theatre and shows very clearly the
different stages kabuki theatre passed through. It also touches upon some
more practical aspects, such as the use of colors or the setting, and finally
includes translations of several plays, including Sukeroku. It is a very helpful
introduction to kabuki theatre for somebody who is not familiar with it, as it
provides a wide range of information but not bombarding with details.
I found helpful the section about the significance of the purple, but
apart from that I did not use this source much as there weren’t enough
relative details. However, this is one of my most reliable sources, as the
author, Bowers, is notable for his studies and auctorial contribution to
Japanese art. Since he was also General Douglas MacArthur's personal
interpreter, his translation of the text must be accurate. However, the one I
mostly used was by Brandon (see below).
2) Brandon, James R. Kabuki: Five Classic Plays. Honolulu: University of
Hawaii, 1992
This is the text that I worked on. The translation seemed to be the most
accurate one, as the language was more embellished compared to others and
had more lines in general. I did not use this book for research, but there is a
great amount of stage directions that provide useful information. The
translator of the play, James R. Brandon, is a noted professor of
Japanese/Asian Theatre at the University of Hawaii, who has been praised
18

with several awards, including for his production of Sukeroku: Flower of Edo,
which makes his work more trustworthy.
3) Cavaye, Ronald, Paul Griffith, and Senda, Akihiko. A Guide to the Japanese
Stage From Traditional to Cutting Edge (Origami Classroom). JAPAN:
Kodansha International, 2004
A Guide to the Japanese Stage From Traditional to Cutting Edge is exactly
what the title suggests: a guide on the different traditions on Japanese theatre,
examining their history, the elements of the performance, such as the
costumes or the acting, and various plays.
It is written by Ronald Cavaye, who has shown a great contribution to
kabuki theatre, Paul Griffith, a Professor at Saitama University, and Akihiko
Senda, a well respected theatre critic in Japan. Since they all are renowned for
their work and it is a relatively contemporary book, it is wise to trust it. In my
case, I did not use it as much as I would like to because I had only a limited
access to some of the pages. Judging from the extracts I read, it would have
been one of the most useful books for this Research Investigation.
4) Cavaye, Ronald. Kabuki: a Pocket Guide. Rutland, Vt.: C.E. Tuttle, 1993
Another guide written by Cavaye, to which I had limited access again.
It contains the history of Kabuki theatre analytically and continues the pattern
of A Guide to the Japanese Stage From Traditional to Cutting Edge, but with more
details. Since I did not have an overall look of the content, my judgment can
be very inaccurate, but from the pages I read, it seems that it has a great
accuracy and is not limited in one aspect of Kabuki theatre, such as acting, but
develops thoroughly all aspects, such as music, wigs, rehearsals. I believe it is
19

vey helpful for someone who is completely unfamiliar with Kabuki theatre
but does not want only superficial knowledge.
5) Ernst, Earle. The Kabuki theatre. New York: Oxford UP, 1956
The Kabuki theatre is one of the sources I found quite useful. That Earle
Ernst is a Professor of Drama and Theatre of the University of Hawaii, a
University that has shown interest in kabuki theatre, gives credibility to his
work. The book consists of several chapters, each dedicated to elements of a
performance. Even though there was no history of the kabuki theatre, I did
not think of it as a drawback since I had already found other sources with
extended mention to the development of it, and also there was more space for
other aspects of theatre, such as the audience.
There were several mentions on the character of Sukeroku and
generally on the play, so I was able to learn more about specific parts of the
performance, such as Sukeroku’s walk on the hanamichi. That there was no
chapter or section dedicated to costumes, wigs and make-up was definitely a
disadvantage. The book is very well-written but is it not very useful if it is not
read in connection with another book on kabuki theatre.
6) Kincaid, Zoë. Kabuki: The Popular Stage of Japan. London: Macmillan, 1925
Kabuki: The Popular Stage of Japan is probably the least useful source.
There are long sections dedicated to the different phases kabuki theatre went
through, but there are only few mentions about the practical aspect of theatre.
I found helpful only the small section about Sukeroku. Since the book is quite
old and I did not find Kincaid’s connection to kabuki theatre I do no fully
trust this source.
20

7) Saito, R. Japanese Coiffure. Trans. G. Mori. Tokyo: Board of Tourist
Industry, Japanese Government, 1939
This text is irrelevant to my Research Investigation and I used only a
paragraph from it. From pictures of productions of the play I understood how
Sukeroku’s hair should look like but I could not find the name of this
hairstyle. Japanese Coiffure has descriptions of several hairstyles and one of
them suited the one of the pictures.
8) Scott, A. C. The Kabuki theatre of Japan. London: George Allen & Unwin, 1955
This is the most useful source and is perfect for anyone who in not
familiar with kabuki theatre. The book includes the history of kabuki theatre,
making also connections to Noh and Doll theatre, and extended analyses on
dancing, singing and acting of kabuki, thus giving an overall idea of how it is
performed.
The part I found most helpful was the one dedicated to the appearance
of the actors. It is the only book with so lengthy descriptions of costumes,
wigs and costumes and fully informs the reader, without however becoming
tiring. There are also brief references on Sukeroku, as the play and the
character are quite often used as examples.
21

Online Sources
9) "The Five Seasons of Japan Joshua Zimmerman." Joshua Zimmerman. Web.
01 Feb. 2010. <http://www.joshuazimmerman.com/?p=1870>.
Http://webdesign.about.com/od/color/a/bl_colorculture.htm.
The reason why I used this website is because it provides some
interesting and useful information about colors and their significance to the
different cultures. The article is written by Jennifer Kyrnin who has a BA in
linguistics and an MBA in technology and management. Since she is not
associated with a science, such as psychology or sociology, that is more
closely connected with human mind or cultures, I do not find her article
completely reliable, which is why I make only one reference to it.
10) "Kabuki Costumes and Makeup." UNT - Department of Communication
Studies. Web. 01 Feb. 2010.
<http://www.comm.unt.edu/histofperf/nonwest/zsohar/copy_of_ja
panesetheatr/Kabuki%20Costumes.htm>.
This is one of the first sources I came in contact with when I started my
research. It is a very well written synopsis of what one should know about
costumes in kabuki theatre. Its reliability is evident due to its good
bibliography, as there were sources cited I had used myself. Even though it
lacks depth, it is an excellent introduction in how the actors look like in
kabuki performances.
11) "JNTO Website | Japan In-Depth | History & Culture | Experience
Japanese Culture." Japan National Tourism Organization Web Site. Web.
01 Feb. 2010.
<http://www.jnto.go.jp/eng/indepth/history/experience/x.html>.
22

This website is excellent for a person that is completely unfamiliar with
kabuki theatre. It is very explanatory and introduces the reader to how a
performance is, not to the history of the tradition of kabuki. The images and
sketches are also very helpful. Certainly, a research cannot be based on this
source since the information provided is not sufficient, but it pinpoints the
most important elements of a production. It is also a reliable source as it is
provided by the Japan National Tourism Organization.
12) Web. 1 Feb. 2010 <http://www.harn.ufl.edu/pubs/kimonofamily.pdf>
The website is under the aegis of the Harn Museum of Art at the
University of Florida so I found the information reliable and helpful. Since I
was not very familiar with what a kimono is, I found this website very helpful
as it explained how kimonos are made and the significance of the crests.
Images
Fig 1 & 10: "Kabuki Costumes and Makeup." UNT - Department of
Communication Studies. Web. 01 Feb. 2010.
<http://www.comm.unt.edu/histofperf/nonwest/zsohar/copy_of_japanese
theatr/Kabuki%20Costumes.htm>.
Fig 2: "JNTO Website | Japan In-Depth | History & Culture | Experience
Japanese Culture." Japan National Tourism Organization Web Site. Web. 01 Feb.
2010. <http://www.jnto.go.jp/eng/indepth/history/experience/x.html>.
Fig 3: "Japan Society, New York - Kabuki at the Time of Kunisada." Japan
Society, New York - Home. Web. 29 Mar. 2010.
http://www.japansociety.org/kabuki_at_the_time_of_kunisada
23

Fig 4: "Japanese Prints and Printmakers | Paul Binnie |." Contemporary Fine
Art & Original Prints | Ebo Gallery. Web. 29 Mar. 2010.
http://ebogallery.com/japanese-prints/paul-binnie/
Fig 5: "Japan." Oracle ThinkQuest Library. Web. 29 Mar. 2010.
http://library.thinkquest.org/08aug/00927/Japan.htm
Fig 6: "Invitation to Kabuki | Fujiya Izaemon." Web. 29 Mar. 2010.
http://www2.ntj.jac.go.jp/unesco/kabuki/en/4/4_01_02.html
Fig 7: Cavaye, Ronald, and Tomoko Ogawa. Kabuki: a Pocket Guide. Rutland,
Vt.: C.E. Tuttle, 1993
Fig 8: Brandon, James R. Kabuki: Five Classic Plays. Honolulu: University of
Hawaii, 1992
Fig 9: Web. 29 Mar. 2010. http://www.cosmo.ne.jp/~barber/sakayaki.html
Fig 11: "Index of /festpreis." AOYAKA Trading Co. Web. 29 Mar. 2010.
http://aoyaka.com/festpreis/
Fig 12: SparkPlugged - Plugging the Best of Japanese Indie, Rock and Alternative
Music. Web. 29 Mar. 2010.
<http://sparkplugged.net/2006/03/sukeroku-flower-of-edo/>
Since most of the pictures were taken from internet sources, their
reliability is limited. However, they all looked the way I expected, from what
I have read in the books; I tried to find a match with the descriptions. That
Sukeroku is a popular play enabled me to fund pictures of performances and
24

Japanese woodblock prints of the character. The pictures taken from books
are definitely of great reliability as I know who the authors and those
responsible for the publication are.
25

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