歌舞伎 (かぶき) - Kabuki

歌舞伎 is arguably Japan's most famous form of theatre, instantly recognisable by its all-male cast, elaborate makeup, over-the-top costumes and stylised drama. The word "歌舞伎" is made up of the three 漢字 (かんじ - kanji) for "sing", "dance" and "technique", which is a pretty good summary of what's involved. Modern 歌舞伎 often features comprehensive guides and headsets to help follow along with all the dramatic plot twists, but apart from that it's much as it was hundreds of years ago. With tragic stories of love, betrayal and death delivered with some of the most outrageous acting I've ever seen, I think we might have discovered Japan's first soap opera.

歌舞伎 originated early in the 17th century in 京都 (きょうと - Kyoto) and in its early forms, it was an all-female form of dance drama. Eventually it was banned by the government of the time, who decided that it had a "bad influence on public morals". Another form sprang up played by young male actors, but before long that was squashed for the same reason. Toward the end of the 17th century however, 歌舞伎 began to develop as a legitimate form of theatre, with a variety of sophisticated plays on everything from real or imagined historical events to contemporary life. Over time, actors formed prestigious 屋号 (やごう - yagou - "acting houses") and passed their skills on to later generations; many 屋号 have a devoted following even today. Within these, the actors are divided into 立役 (たちやく - tachiyaku) who play male roles and 女方 (おんながた - onna gata) who specialise in playing females.

The three types of 歌舞伎 plays are 時代物 (じだいもの - jidaimono), period dramas revolving around 侍 (さむらい - samurai); 世話物 (せわもの - sewamono), "domestic plays" which deal with the lives of regular feudal townspeople; and 所作事 (しょさごと - shosagoto), dance plays. They do have much in common however, from the traditional makeup and grand costumes to the sing-song delivery and rhythm of lines. The most recognisable part of the latter is what's called 見得 (みえ - mie - "dramatic poses"), pauses at climactic moments where the actor strikes a pose, grimaces, rotates or bobs his head and occasionally even crosses one eye. 見得 are immensely popular with the audience, some of whom shout out their appreciation during dramatic pauses and shocking developments in the story. These shouts are known as 掛け声 (かけごえ - kakegoe), and usually involve bellowing out the actor's 屋号.

A 歌舞伎 stage always features what's known as a 花道 (はなみち - hanamichi - literally "flower path"), a raised walkway to one side of the stage that leads past the audience to the actors' room. This is used for the most important entrances and exits and occasionally for dramatic scenes separated from the main set. Off to another side and sometimes obscured by a curtain sit the musicians, who fill out the action with music and sound effects. The 三味線 (しゃみせん - shamisen - Japanese guitar) is a staple and drums or flutes are sometimes used as well. Singers carry the narrative throughout the play, their lilting songs adding atmosphere particularly during otherwise silent scenes. This background music is known as 下座 (げざ - geza), which also means "crouching" or "squatting" - presumably a reference to the musicians' endless leg stamina. Part of 下座 is providing stylised sound effects to add to the atmosphere - most commonly the use of wooden blocks to emphasise footsteps, brawls and 見得.

Actors are sometimes required to undergo several costume changes throughout the play, particularly in some 所作事. Discreetly-dressed stage assistants mill around behind and assist with quick on-stage costume changes, known as 変化 (へんげ - henge - transformations); 歌舞伎 actors often wear several layers of clothing so that removing an overcoat or 着物 (きもの - kimono) can turn them into a different character or reveal their true identity. Stagehands also make minor adjustments to wigs or makeup and make sure everything is laid on on set as it should be. This is particularly important during 立回り (たちまわり - tachi mawari), stylised and choreographed fight scenes featuring a lot of dramatic flourishes and bodies falling left and right; I'm sure the extras appreciate a nice clear stage so that they can writhe on the ground without an errant prop poking them in the ribs.

I've heard coworkers describe 歌舞伎 as "Japanese Shakespeare" and it doesn't take too much script-reading to see why. Tragedy is a big part of many plots, with unfortunate coincidences leading to ruinous consequences and heroes sacrificing themselves for the greater good. One of the more famous plays is called 義経千本桜 (よしつねせんぼんざくら - Yoshitsune Senbon Zakura - "Yoshitsune and the Thousand Cherry Blossoms") and revolves around the survivors of the 平家 (へいけ - Heike) clan after their defeat at the hands of the 源氏 (げんじ - Genji) clan. It's colossally long so usually only one or two acts are performed at a time; I watched Act Three. It revolves around a 寿司 (すし - sushi) shop proprietor called Yazaemon who is harbouring a wanted 平家 General called Koremori in his shop. Yazaemon hides the head of another 侍 in one of his 寿司 buckets, planning to pass it off as Koremori to save his life. Things get more complicated when Yazaemon's thug of a son Gonta shows up and swindles money out of his grandmother, hiding the cash in another bucket for safekeeping. Koremori's wife and child show up and Koremori is forced to reveal his true identity, then they receive word that enemy men are on their way so the family flees to a safehouse.

Unfortunately Gonta has overheard everything and runs out with his bucket, declaring he's going to hand over the fugitives and claim the reward. When the Lord's men arrive, Gonta shows up with his captives, along with Koremori's head, and hands them over. Yazaemon stabs Gonta in a rage before he can explain the truth. Too late, they hear that Gonta grabbed his father's bucket by mistake; finding the head inside, he realised what was happening and decided to hand over the fake as planned. He blows a whistle and Koremori and his family reappear unscathed - Gonta's own wife and child agreed to disguise themselves and be arrested in their stead. The act ends as Gonta dies, his remaining family mourning the passing of the reformed hero.

歌舞伎 is more than just a visually striking form of theatre - it's a unique and entertaining look into the history of Japan, both real and imagined. With its unique form, in-depth plots and talented cast, it's not hard to see why it has such a devoted following. Without a headset or script translation you might find it hard to keep up with "Japanese Shakespeare" but between the beautiful costumes, music and action, you'll find plenty to keep you entertained nonetheless. If you do have a chance, 歌舞伎 is definitely worth experiencing at least once - your inner soapie fan will appreciate a little culture.