Kabuki+Stage+Design

In Kabuki the actor is king. However a lot of work has gone into the design of the kabuki stage. Unlike some other theatre forms, like the Indian form, Kathakali,where the focus is on the actor and very little setting was used.

The current stage design is a wide low proscenium stage that has a walkway going from stage right through the audience to the back of the house. This walkway is called the Hanamichi, which literally translates as “flower path.” The reason for the name is no longer known but one theory is that audience members would present flowers as gratuities to the actors along the path, another theory is that the actors walking across it were as beautiful as flowers.i Occasionally another walkway will be placed on stage left called the Kari-hanamichi. The origin of the hanamichi can be traced back to Noh theatre which has a walkway entrance called Hashigakari. This walkway traveled to the side off of stage right. The orginal kabuki theatres had the same layout however over time the walkway rotated forward to go through the audience. A majority of actor entrances and exits are done by way of the hanamichi. When an actor uses this to enter or exit they will always stop at the shichisan which translates as 7-3. It is called this because it is 30% of the hanamichi's total distance from the stage and therefore 70% from the exit. When the actros stop here they either strike a dramatic look (a mie) or deliver a line.

Located at the Shichisan is a small lift called the suppon. This is used to have supernatural characters (things like ghosts, spirits and sorcerers) make magical entrances. This is just one of 3 permanent lifts in the stagecalled Seri. There is one called the Oseri which is a large portion of the main stage, the third is a smaller one inside the Oseri called the Koseri. These lifts were first introduced in 1753 in Osaka. Originally the lifts were operated by stage hands and pulleys now they are machine automated. These lifts are used to do big dramatic scene shifts for example some shows there will be a scene taking place on the 2nd floor of a temple then the temple will rise up and reveal the first floor.ii

Another stage innovation from kabuki theatre is the stage revolve. It is a large circular platform on wheels inset into the stage that turns. This was first done in the earily 1700s and was perfected by around 1760 it is called the mawaributai. At some theatres there is a smaller revolve inside the big one that can turn the opposite direction called the janome butai.iii The revolve is used to quickly change scenery and frequently is done with actors on it acting through the transitions. It can be used to show both the inside and out side of a building it is also used in some shows to move a boat around the stage. Like the lifts these were controlled by hand from underneath the stage but has now been automated.

The area under the stage is called the Naraku which means hell or bottomless pit. It used to be a dark damp place only lit by candle light which is how it got it's name.

The stage itself is made of thick unpainted boards about 10” wide at a right angle to the front of the stage. For shows that are more dance oriented this will sometimes be covered in a deck with highly polished cypress. iv For many shows this stage will be platformed. Sometimes they will be wagons that slide on and off the stage. When the scenery are buildings they are usually raised up on platforms. The inside will be raised so the actors may be seen when sitting on the floor. The exteriors will be raise to specific heights depending on the type of building they are, ordinary houses are lower then samurai's houses which are lower then temples.v

When it comes to scenery for shows it is more about indicating locations the replicating it. Scenery is in general a two dimensional representation for the actors to act in front of. For example house interiors are frequently just a platform with a wall with sliding doors made of wood frame work skinned with think paper. Occasionally through the doors will be a perspective drawing of something in the distance. Also it is very rare for any scenery to be down stage unless it is required for the story like a tree is important because someone hides behind it. Other then that it is usually just a painted drop in the background with a stylized almost cartoonish drawing on it. Instead of realistic drops it will be an image of a tree or Mount Fuji for example with bright but flat colors and black outlining. Flats will be used on the sides of the stage and on the stage right side will be a flat with vertical slots in it which hides a small room of musicians called the Geza or kuromisu. The musicians are refered to as the hidden orchestra or kagebayashi. In some shows there is also a long two level platform along the back of the stage with even more musicians in view of the audience.

Another example of hows scenery suggest more then recreates locations is the use of jigazuri or floor cloths. A blue cloth placed onto the floor is snow, it doesn't try to look like snow it isn't placed in way to suggest snow banks and drifts, it is just there and it is snow. Blue cloth is for water, grey or uncovered is earth. Also when inside of a house straw mats will be placed down.

Kabuki theatres also have a fly system which they use to hang the back drop on also the main curtain is hung on a track that a stagehand will pull from stage right off stage left. The main curtain is vertical stripes of black, green and orange. Also frequently as upper masking for a set there will be tsurieda which floral decorations indicating cherry or plum blossoms, or less frequently, pine branches hung like a border.there is also a curtain hung on the door at the back of the hanamichi called the agemaku it usually has the crest of the theatre dyed onto it.   The stage hands that run all of this are called Kurogo. They are usually dressed in all black with black hoods and are just ignored even walking in full light across the stage to hand props to the actors. The exception is if they are in a snow scene they will wear all white or all blue in a water scene. In kabuki black is “invisible.” The will bring actors props, help with actor quick changes and will animate fakes animals and will-o-the-wisps. There are few specialized Kurugo, some specialism in doing Uma or a horse, . 

"The Kabuki stage horse is a work of art, a splendid structure of wood and velvet borne by two specialist assistants. These assistants have exercised a monopoly for generations and there is very little about the behavior of horses that they do not know and reproduce. Their beasts toss their heads, paw the ground, back away from obstacles and fret at the bit like any thoroughbred. Trotting is a proud specialty and the authors have even seen a gentle canter. The actor who rides such horses must give a tip known as 'hay money'(kaibaryô) to the artists if he does not wish to risk an undignified fall - the pleasing tradition persists at least, even if present-day stage discipline militates against any such calculated mishaps" http://www.kabuki21.com  credits this to Aubrey and Giovanna Halford in "The Kabuki Handbook"

Another specialized attendant is the Koken who instead of wearing black wears formal stage dress decorated with the symbol of his master.

With the lifts, the fly system, the revolves and the “invisible” stagehands Kabuki shows frequently use stage tricks called Keren. Keren means playing to the gallery. It is looked down on by kabuki connoisseurs but most of the audience likes it. Things that are done are sudden appearances of character. Honmizu which is the use of real water on stage. Or gondogeshi where a three dimensional building rolls onto it's back to reveal another set underneath it. Furidake which is a curtain that is rigged to quickly drop to the floor revealing what was behind it. Tomi which means distant view where children are used to replace adult actors to give an illusion of distance. Also many theatres are rigged for Chûnori or wire to fly actors usually from the mian stage up over the hanamichi to the 3rd balcony.

The most important props are fans. Every one on stage has a fan, all the actors the stage hands the musicians. There are 3 styles of fans; folding dance fan mai ogi is the standard, priests and characters in history dramas use chukei an old fan where the wooden slats are curved outward, uchiwa non folding flat fan used in summer scenes.

Sources and Further Reading [|Invitation to Kabuki]  [|The Kabuki Theatre of Japan By Adolphe Clarence Scott]  [|The Kabuki theatre By Earle Ernst]  [] [| Kabuki a pocket guide] [|By Ronald Cavaye, Tomoko Ogawa] [|Historical dictionary of Japanese traditional theatre By Samuel L. Leiter] [|Kabuki Butai] [|The Virtual Museum of Japanese Arts] [|Kabuki at Misonoza in Nagoya] [|KABUKI: Traditional Theatrical Arts] [|Kabuki Story: A Visit to the Kabuki] [|Wikipedia]