Kyôgen Costume: Jacket (Suô) with Design of Lotuses
Japan, Edo period (1615–1868); early 19th century
Kyôgen Costume: Jacket (Suô) with Design of Lotuses
Japan, Edo period (1615–1868); early 19th century
歴代風俗写真集 風俗研究会 編(解説は江馬務ほか) 1922~1928年
第1 幕末女官外出姿 武家大禮装 平安朝の山法師
第2 懸想文賣 鎌倉時代武士甲冑姿 徳川初期遊女姿
第3 山伏の風俗 江戸中期廓通ひの風俗 享保時代上流女装
第4 鎌倉時代下級武官の正装 江戸中期美人打砧の姿 南北朝時代武将小具足姿
第5 大和萬歳の風俗 江戸時代中期婦人旅装 雛祭の風俗
第6 鎌倉時代大鎧の風俗 小松谷正林寺獻燈會の風俗 今宮やすらひ祭の風俗
第7 大鎧著初式
第8 平安末期公卿の衣冠の風俗 江戸時代末婦人風俗
第9 平安朝武人略装 徳川季世より明治初年に至る間京都に流行したる女子の髷 鎌倉時代の童子の風
第10 鎌倉時代武士狩装束 虚無僧の風俗 白拍子の風俗(その一)
第11 子ノ日の小松引の風俗 白拍子の風俗(その二)
第12 賀茂御蔭祭の舞人の姿 江戸中期雨中の男子姿 中世女子外出姿 狂言「貰ひ婿」の風俗
第13 上古の男子の風俗 江戸時代中期遊女螢狩の姿 狂言「清水」の風俗
第14 江戸時代武家大禮装 戰國時代戰士の風俗 桃山時代の婦人風俗
第15 平安朝初期の風俗を有せる太秦神像 天平時代婦人略装 鎌倉時代童子竹馬遊の風俗 室町時代下僕の風俗
第16 大覺寺藏後宇多法皇神輿 鎌倉時代武士風俗 鎌倉時代雜兵の風俗 享保頃の花見美人の風俗
第17 大覺寺藏光格天皇の御小直衣 江戸時代後期の奴姿 江戸時代中期娘姿 狂言煎じ物賣の風俗
Oketori, from the series Fashionable Parodies of Mibu Kyôgen Plays. Ukiyo-e woodblock print. 1810’s, Japan. Artist Utagawa Toyokuni I
The dance of Uzume from the Japanese movie Onmyouji II. Abe no Seimei (played by Mansai Nomura who is a well known Kyogen stage actor) performed this ritual to summon Amaterasu.
Abe no Seimei was the most famous onmyouji during the middle of the Heian Period in Japan. There are so many legends about Seimei and many Japanese people belief that he had some mystical powers. According to the legend, Abe no Seimei was not entirely human. His father, Abe no Yasuna, was human; but his mother, Kuzunoha, was a kitsune (a fox spirit).
“In Japan’s classical Heian period, ghostly occurrences are common and the government calls upon Onmyoji, masters of the occult, to comprehend and quell the supernatural disturbances.”
This movie was based on Baku Yumemakura’s novel; and the actor who played Abe no Seimei is probably the best one I’ve ever seen. I think the most treasure part of this movie is Mansai Nomura, who created all the dancing parts of Onmyouji I & II.
Great video of Setsubun celebrations in Kamishichiken - Kyogen (comic theatre) and Kyomai (geiko dance) with nice subtitles, so we all can learn something new!
Featuring maiko Ichimari, Katsune, Satohina, geiko Naokazu and Katsuru
Hannya.
There are four main types of traditional theater in Japan. Each of them can be seen during a trip to Japan. But the tickets can be expensive.
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Photo: Nô actor coming back from stage at Miyajima temple, Hiroshima Ken, Seto Inland Sea, Japan by Alex_Saurel
Nô is a plain, restrained and intense theatre which was created from Shinto Rituals. Kan'ami Kiyotsugu (観阿弥 清次, 1333 - 1384) presented it for the first time, the Daimyo changed it to a ritual ceremony afterwards. Parts of Nô are bare trilateral stages made of cypress wood with a ramp at the side. The actors wear masks and perform a Kata (cheography) which is accompanied by music. All traditional Japnese theatre types are only performed by men.
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Photo: Saga Dainenbutsu Kyogen by Teruhide Tomori (◠‿◠)
Kyogen was created from the farcical elements and interludes of Nô performances. Kyogen is a comic theatre with uncomplicated sketches and colloquial language. It’s mainly about human preferences and weaknesses. The main actors wear masks, all other characters are played without masks. Kyogen uses plain costumes which are decorated and heavy and Tabi socks. A lot of layer should make the actors taller and more impressive.
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Photo: Kabuki Performance at SF State October 2009 by mabeljmnz
Kabuki was founded by Izumo no Okuni (出雲の阿国) in Kyoto in early the 17th century. She could have been a Miko of the Izumo Taisha which used a new style of drama dance. In the beginning Kabuki was only performed by women. Since many actresses were also prostitutes Kabuki became a famous entertainment in red-light-districts. In 1629 women Kabuki was banned in Japan since it was too erotic. Afterwards all men Kabuki was born. The female parts of a Kabuki play are also played by men which are called Onnagata (女形).
Japanese people really liked Kabuki, because they wanted to see carefree entertainment. Everything about Kabuki is avant-garde, lush and colorful. They use big stages and ensembles and a curtain for change of scenes. Instead of wearing masks Kabuki actors wear very opulent make-up. They are still very famous in Japan and can be compared to popular celebrities. Most of them were born in an actor dynasty.
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Photo: bunraku by appow
Like Kabuki Bunraku also aims for a large audience and is a Japanese puppet theatre. The Bunraku puppets got a height of 120cm, carved wooden heads, movable hands and extravagant clothes. On the other hand the puppeteers wear traditional formal robes. Supporter on the right and left side of the puppeteers wear black clothes. As for the story, it will be told by a storyteller.

Mibu Kyōgen / Hokusai
壬生狂言 葛飾北斎 1790年頃(勝川春朗時代)
The Day Before the Begining of Spring 節分 / Chimera 鵺
Offering Pails of Water 桶取 / Malicious Priest 性わる坊主(大黒狩り)
Monkey Handler 猿廻 / Flower Thief 花盗人 / Visiting Atago Shrine 愛宕詣
At rest
Close: 三番叟 (Sanbasou)
The god has taken an old man’s form. He offers prayers for a bountiful harvest before he hardens the ground with his rhythmic footfalls. When he dons his black mask, his bell is meant to represent ears of rice.
Kyogen (von Viaje con JAPOPLAN)
El teatro japonés se desarrolló de manera aparte que el teatro tradicional que conocemos. Aunque hoy en día hay obras de teatro japonesas a la manera occidental, Japón desarrolló cuatro géneros de teatro que son parte de su tradición: Kabuki,Noh, Kyogen y Bunraku.
Dope #japanese #nohmasks #oni #japan #culture #wedding #ceremonial #noumen #masks #emotion #expression #traditional #tradition #kyogen #hannya #onryokei #ghostspirit
狂言 (Wild Speech)
Kyogen is a form of traditional Japanese comic theater which developed alongside Noh. During Noh dramas, it was played as an intermission of sorts between the acts. Its primary goal is to make the audience laugh.
The Play Oketori in a Mibu Kyôgen Performance (Mibu kyôgen Oketori) / Hiroshige
壬生狂言 桶取 歌川広重 1853年1月
“壬生寺の近くに住む照子という娘は、生まれながら左手の指が三本しかなく、そこで、来世は障碍のない人間に生まれるようにと壬生寺の本尊地蔵菩薩に祈願し、毎日閼伽(あか)水を桶に汲んで参詣していた。 そこへ和気俊清という金持ちの大尽がきて、照子を見初めて口説く。照子は素気なく振り切っていたが、大尽があれこれと尽くすので、ついに照子も折れて大尽に踊りを教えることになる。二人が睦まじく踊っていると、臨月の大尽の本妻が、これを知って、両人を責める。夫婦は大喧嘩をするが、この間に大尽は照子を逃がす。大尽は迷うが、妻を捨てて照子を追う。残された妻は自分の容姿を嘆き、せめて化粧をしてみたらと、いろいろ試みるが望みを失い、悲しみの末に狂乱してしまう。" 京洛そぞろ歩き:壬生狂言