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. 432 Ernst, Earle. The Kabuki theatre. New York: Oxford UP, 1956, p. 103 Scott, A. C. The Kabuki theatre of Japan. London: George Allen & Unwin, p.364 Ernst, p. 105 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.

Costumes6 Scott, p. 168

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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. 1358 Bowers, p. 1119 Ibid, p. 19310 Brandon, James R. Kabuki: Five Classic Plays. Honolulu: University of Hawaii, 1992, p. 6511 Ibid, p. 6312 Scott, p. 13613 Kincaid, Zoë. Kabuki: The Popular Stage of Japan. London: Macmillan, 1925, p. 268

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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. 6315 http://www.harn.ufl.edu/pubs/kimonofamily.pdf16 http://www.joshuazimmerman.com/?p=1870

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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. 26818 Ernst, p. 161

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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. 7120 Bowers, p.18021 Ibid, p. 18022 Brandon, p. 6323 Scott, p. 3024 Brandon, p. 73

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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. 8226 Ibid, p. 8227 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. 13628 Scott, p. 14229 Brandon, p. 8230 Ibid, p. 8231 Ibid, p. 13

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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. 8233 Ibid, p. 87

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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. 8835 http://webdesign.about.com/od/color/a/bl_colorculture.htm

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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. 12837 Ibid, p. 13038 Saito, R. Japanese Coiffure. Trans. G. Mori. Tokyo: Board of Tourist Industry, Japanese Government, 1939, p. 2439 Scott, p. 12240 Ernst, p. 181-182

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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. 12242 Ibid, p. 12443http://www.comm.unt.edu/histofperf/nonwest/zsohar/copy_of_japanesetheatr/Kabuki%20Costumes.htm44 Scott, p. 124

45 Cavaye, Griffith, Akihiko, p. 73

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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. 12447 Brandon, p. 6348 Kincaid, p. 268

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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. 14350 http://www.jnto.go.jp/eng/indepth/history/experience/x.html51 Bowers, p. 18052 Ibid, p. 18053 Kincaid, p. 268

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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. 54The 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. 11055 Kincaid, p. 269

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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

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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

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http://en.wikipedia.org/wiki/Douglas_MacArthur


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

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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.

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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.

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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>.

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http://webdesign.about.com/bio/Jennifer-Kyrnin-5105.htm

http://webdesign.about.com/od/color/a/bl_colorculture.htm


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

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http://www.japansociety.org/kabuki_at_the_time_of_kunisada


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

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http://aoyaka.com/festpreis/

http://www.cosmo.ne.jp/~barber/sakayaki.html

http://www2.ntj.jac.go.jp/unesco/kabuki/en/4/4_01_02.html

http://library.thinkquest.org/08aug/00927/Japan.htm

http://ebogallery.com/japanese-prints/paul-binnie/


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.

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