A Japanese Noh stage as it appears today. Tokyo: Koksai Bunka Shinkokai, 1966



A character in the Noh play Kumano. Kokusai bunka Shinkokai, Tokyo



A Noh production of Aoi no Ue (The Lady Aoi) by Zeami Moto-kiyo. Kokusai bunka Shinkokai, Tokyo



Kumaggai, a noted general of the Genji clan, as portrayed in a puppet theatre production of
Kumagai Jinya. Kokusai Bunka Shinkokai, Tokyo



A puppet theatre production showing a scene along the road in Yoshitsune Sembon Zakura
(Yoshitsune and the Thousand Cherry Trees). Kokusai Bunka Shinkokai, Tokyo



A Kabuki production of Gedatsu (The Release of Kagekiyo's Soul). originally produced in 1744
and revisited n 1914 and 1953. The scene shows the Todaiji temple at Kamakura.
Kokusai Bunka Shinkokai, Tokyo



Kabuki make-up (kumadori) for the play Shibaraku. Kokusai Bunka Shinkokai, Tokyo



Kabuki stage at Edo as it appeared in 1806. Tsu-bouchi Memorial Theatre Collection. Waseda university, Tokyo



A performance at the prewar Kabukiza in Tokyo. Note that both hanamichi are in use.
Note also the wide proscenium opening and auditorium. From Haar, Japanese Teatre in highlight.
Charles E. Tutle and Co., Tokyo


The following insert four captions are from the book
THE KABUKI THEATRE,
JAPAN'S SPECTACULAR DRAMA
by Earle Ernst. Oxford University Press, 1956.

The contemporary No (Noh) stage, which has shown no significant change since 1615. The earliest Kabuki theatres were based upon this form of stage. Its principal areas are the hasigakari (bridge), leading from the curtained entrance of the dressing room to the stage, the altoza (rear stage) in which the orchestra sits, and the butai (stage proper), which is the principal acting area. The stage and the hasigakari are elaborately roofed, and the pillars supporting the roof have conventional values in the movement of the actor. The rear wall is painted with a stylized pine tree (matsubame). The platforms and peony blossoms at the front of the stage are tsukuri-mono ('fictional things'), more flamboyant than is usual in No stage decoration. [Haar: Tuttle.]

The No stage. In the up-left corner of the stage is the low 'hurry'-door, used principally by musicians and chorus. the chorus is seated at the right of the photograph in the area called the waki-za (the stge of the subordinate character). The play is Dojo Temple. [Haar: Tuttle.]

The No actor in costume, wig, and mask. [Haar: Tuttle.]



The Kabuki actor in make-up and costume for Kokaji, a Kabuki dance adapted from the No theatre. [Haar: Tuttle.]






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