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Nihon-buyō
refers to the classical Japanese performing art of dance. developed from earlier dance traditions such as and , and was further developed during the early Edo period (1603–1867), through the medium of kabuki dances, which often incorporated elements from the older dance genres. Although the term means "Japanese dance", it is not meant to refer to Japanese dance in general, and instead refers to a few dance genres such as , which are performed in theatre. differs from other varieties of Japanese traditional dance, in that it is a refined style intended as entertainment on a public stage. The term is a modern term coined during the Meiji period (1868–1911) as a term for "dance", and the writer Tsubouchi Shōyō is believed to have been the first to use the term . Prior to this, dance was generally referred according to its particular dance genre, such as and . The term is a combination of the characters , which can also be pronounced , and , which can also be pronounced ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nakamura Fukusuke VII 1955 Scan10019
Nakamura may refer to: Places *Nakamura, Kōchi, a former city in Kōchi Prefecture, Japan *Nakamura-ku, Nagoya, a ward in Nagoya city in Aichi Prefecture, Japan People *Nakamura (surname), a list of people with the surname Other uses *Nakamura stable, a stable of sumo wrestlers *Nakamura Station, a railway station in Shimanto, Kōchi Prefecture, Japan {{disambiguation, geo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kanadehon Chūshingura
is an 11-act bunraku puppet play composed in 1748. It is one of the most popular Japanese plays, ranked with Zeami's ''Matsukaze'', although the vivid action of Chūshingura differs dramatically from ''Matsukaze''. Medium During this portion of the Edo period, the major dramatists preferred not to write for the kabuki theater since the kabuki actors frequently departed from the texts to invent parts and aggrandize their own roles; however, ''Chūshingura'' was so successful that it was almost immediately adapted for the kabuki theater as well. The general story has been depicted in many mediums such as ukiyo-e prints. Kabuki The kabuki adaptation appeared shortly after the puppet play did in Osaka and Kyoto, and soon was being performed by three companies in Edo. It is "only intermittently faithful" and frequently cuts entire acts. The saved time is available for a lengthier 11th act, with a sequence featuring a duel on a bridge; as well, the kabuki theater could use a revolving ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nakamura Utaemon III
was a Japanese kabuki performer. He was a prominent member of a family of kabuki actors from the Keihanshin region.Nussbaum, Louis Frédéric et al. (2005). Nakamura Utaemon was a stage name with significant cultural and historical connotations. Life and career Utaemon III was the natural son of Nakamura Utaemon I.Leiter, Samuel L. (2006). In 1782, his father presented the name Utaemon II to a favored apprentice; but the name was later retrieved (or abandoned) in 1790. Then the name was bestowed on his son, who kept it and later passed it on to his son who became Utaemon IV.Leiter, Samuel L. (2002). In the conservative Kabuki world, stage names are passed from father to son in formal system which converts the kabuki stage name into a mark of accomplishment. ; Lineage of Utaemon stage names * Nakamura Utaemon I (1714–1791) * Nakamura Utaemon II (1752-1798) * Nakamura Utaemon III (1778–1838) * Nakamura Utaemon IV (1798–1852) * Nakamura Utaemon V (1865–1940) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bandō Mitsugorō III
was a Kabuki actor, one of the best ''tachiyaku'' (strong male role specialists) of the early 19th century. He is famous for a great many roles, and for his rivalry with the Kamigata (Kyoto-Osaka) actor Nakamura Utaemon III. Names Like most Kabuki actors, and many artists of his time, Mitsugorō bore a number of names. The third to bear the name Bandō Mitsugorō, he was also called Bandō Minosuke I, Morita Kanjirō II and Bandō Mitahachi I earlier in his career. A member of the Yamato-ya guild, he could be called by this name as well (see ''yagō''). Finally, Mitsugorō was known in poetry circles as Shūka, and as he developed something of a reputation on the streets of Edo, he acquired the nickname "Eiki no Oyagata" (boss of the Eiki district). Lineage Born into a family of actors, his parents were Bandō Mitsugorō I and Morita Kanya VI's daughter; Morita Kanya V and Nakamura Jūsuke I were his grandfathers. Mitsugorō was adopted by Morita Kanya VIII, and was the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Odori020 .
ODORI can also refer to:
*ODORI, Overt Distortion of Real Imagery ...
Odori may refer to: *Odori, a Japanese traditional dance *Odori ebi sometimes just called Odori, which in sushi refers to "dancing prawns", so called because they are alive and still moving on your plate. Odori can also refer to * Bon Odori, meaning simply "Bon dance" is an event held during Bon Festival, the Japanese Buddhist holiday to honor the departed spirits of one's ancestors. * Awa Odori, a traditional Japanese dance from Tokushima also a feature of the Koenji Awa Odori festival in Koenji, Suginami, Tokyo which takes place on the last weekend in August each year. *Kasa Odori, dance with paper umbrellas performed at Tottori City's Shan-shan festival The Bon-odori, a Japanese dance which is part of the Obon Festival, is widely enjoyed by the people in Tottori during the summer. There are various bon-dances throughout Japan, and the dances in Tottori can be categorized as Kasa-odori (a dance ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michiyuki
is the term for a journey scene in Japanese theatre, which shows the characters dancing or conversing while travelling. The term , in its generic sense of ''michi wo yuku'' "to go on a road", is used in lyrical descriptions of journeys from the 8th century. It was also a term for the music in bugaku dances of the Heian period, played while a dancer was moving onto the stage. As a technical term in Noh and Kabuki theatre, ''michiyuki'' is used from the 16th century. In Noh, the michiyuki customarily takes the function of a prologue, the characters introducing the play while travelling to the location where the main action will take place. In Kabuki, by contrast, the michiyuki often takes place in the last act. The michiyuki is performed by the travelling characters moving about in a steady pace either on the main stage or on the hanamichi (a walkway or "corridor" attached to the main stage). References *Martina Schönbein, ''Die Michiyuki-Passagen in den Sewa-Jōruri des Dramat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fukusuke Nakamura VI As Madman Onatsu 1939
are traditional dolls associated with good luck in Japan. A Fukusuke doll is the depiction of a man kneeling seiza style, with a large head and a topknot. History It was originally a doll enshrined in tea houses or brothels in the Edo period to bring good luck. In those days, it was considered that Fukusuke would bring "perennial youth, wealth and honor". The doll usually wears a kataginu (かたぎぬ), a kind of vest with exaggerated shoulders. While this kind of garment was worn by samurai or court officials, some say that Fukusuke was based on a daimyō of Kyoto. The origin of the Fukusuke doll is not clear, others say that its origin is found in the kami of luck or fuku no kami (福の神) called Kanō Fukusuke (叶福助) in the Edo period. Fukusuke is often seen in business establishments, and is today treated as a common good luck icon. Many are made of Chinese porcelain and others handcraft. ''Sgt. Pepper's Lonely Hearts Club Band'' Fukusuke was one of the c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chikamatsu Monzaemon
was a Japanese dramatist of jōruri, the form of puppet theater that later came to be known as bunraku, and the live-actor drama, kabuki. The ''Encyclopædia Britannica'' has written that he is "widely regarded as the greatest Japanese dramatist". His most famous plays deal with double-suicides of honor bound lovers. Of his puppet plays, around 70 are ''jidaimono'' (時代物) (historical romances) and 24 are ''sewamono'' (世話物) (domestic tragedies). The domestic plays are today considered the core of his artistic achievement, particularly works such as ''The Courier for Hell'' (1711) and ''The Love Suicides at Amijima'' (1721). His histories are viewed less positively, though ''The Battles of Coxinga'' (1715) remains praised. Biography Chikamatsu was born Sugimori Nobumori. to a samurai family. There is disagreement about his birthplace. The most popular theory. suggests he was born in Echizen Province, but there are other plausible locations, including Hagi, Nagato Provi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oiran
is a collective term for the highest-ranking courtesans in Japanese history, who were considered to be above common prostitution, prostitutes (known as ) for their more refined entertainment skills and training in the traditional arts. Divided into a number of ranks within this category, the highest rank of were the , who were considered to be set apart from other due to their intensive training in the traditional arts. Though by definition also engaged in prostitution, higher-ranking had a degree of choice in which customers they took; , in contrast, did not engage in sex work at all. The term originated in Yoshiwara, the Yūkaku, red light district of Edo in the 1750s, and is applied to all ranks of high level courtesans in historical Japan. The services of were well known for being exclusive and expensive, with typically only entertaining the upper classes of society, gaining the nickname for their perceived ability to steal the hearts and match the wits of upper-cl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fuji Musume
is a kabuki Shosagoto, dance with lyrics written by Katsui Genpachi, choreography by Fujima Taisuke and music by Kineya Rokusaburô IV, first performed in 1826. Originally part of a set of five different dances performed as a sequence, is the only one that has survived. The first time these dances were staged in 1826 at the Nakamura-za in Edo, actor Seki Sanjuro II performed all of them as part of his farewell performance. One of many revisions to the play, playwright and actor created a new, more supernatural version of the dance, staged for the first time in March 1937 at the Kabuki-za. In this version, the maiden becomes the spirit of the wisteria. The next year, performances of the dance by at the Minami-za in Kyoto and at the Kabuki-za in Tokyo, helped popularized the dance. remains a popular and famous dance in the kabuki repertoire. Characters The titular Wisteria Maiden is the only character seen in the play, and is accompanied by a musical ensemble of singers, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
