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aurorae: TOKYO AS EDO ERA 101 by *hirolu on deviantART
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printsandthings: Bando Tamasburo, male kabuki legend, by Kishin Shinoyama “For 38 years, Kishin Shinoyama has been taking photographs of Bando Tamasburo, a living legend of kabuki theatre. In 1970, the author and nationalist ritual suicide, Yukio Mishima, said of this ‘onnagata’-a male actor who specializes in female roles, but doesn’t play them exclusively: “The onnagata is the flower of Kabuki, and although the great elders are essential in this field, if there were no young actors, none of these flowers in bud, kabuki would not survive. Nowadays, even though we would like to cultivate such flowers, there is no soil for this purpose and we can only impatiently wait for a miracle. Now our patience has been rewarded. Tamasaburo is a young onnagata whose elegance and delicacy call to mind the working of ivory. He is the living proof of the vitality of kabuki.” Kishin Shinoyama, himself a master of the photographic medium, spoke to Paradis about his singular rapport with Bando Tamasburo.”
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j-p-g: tales from nohgaku: kanawa I (via ontoshiki)
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ikotsu:
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ikotsu: Opportunities for women have followed economic crises and social change throughout Noh’s history. During the Edo period (1600–1868), when Noh flourished with the support of the Tokugawa shogunate, women were banned from publicly performing Noh as part of a government crackdown on individual freedom and morality. But during the Meiji Restoration in the late 1800s, when Noh actors were stripped of their patronage, women returned to the stage. Finally, in 1948—newly defeated in World War II and reeling from Western pressures—Japan allowed its first officially recognized professional woman Noh actor, Kimiko Tsumura.
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ikotsu: 道成寺
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