歌舞伎 Kabuki Performance

traditions Course Name: Kabuki Theater Year Available: 2nd Year Course Code: PART410 Subject Area: Performing Arts Class Style: Lecture (Practicum) Number of Credits: 3 Term(s) Offered: Spring Semester Prerequisites: PART110 or PART150 Instructor: Darren Ashmore Class Capacity: 10 students

(Due to allow for the degree of close work)

COURSE DESCRIPTION This PBL (Project Based Learning)1 course is designed as a high level performance course in the methods of the Ichikawa School of Aragoto Kabuki Through lecture, observation, discussion and practice, the class will recreate some key moments in classic Kabuki Theater.

Please note this is a student led course, which requires high level Japanese, as none of the materials used are in English (as is the final assessed performance). Moreover, it requires previous performance experience.

1 Project-based learning (PBL) is involves a classroom approach which places student participation, and teaching (AKA the flipped classroom) alongside more normal lecture and discussion elements. PBL compliments paper-based and teacher-led instruction by ensuring each student has an opportunity to query or offer alternative viewpoints to the material being examined.

COURSE OBJECTIVES Over the course of the program, student will:

Refine an understanding of Kabuki as an art. Be able to create (or recreate) characters in a performance setting. Define the differences between different styles of Kabuki throughout

the Edo period. Recognize unique and borrowed techniques that are used in the

Ichikawa school. Appreciate Kabuki as an artistic and cultural property. Understand the nature and purpose of theater. Students Should: Possess high communication skills in both Japanese and English. Possess Critical, Creative, Independent and Global thinking skills. Possess an inter-cultural understanding and be open-minded towards

other cultures. Student Feedback

Note that the course is ever in a state of evolution, and feedback is essential for its continued growth.

For every semester, this course will be evaluated and reflect upon student course evaluation and feedback.

STUDY MATERIALS: As provided

Attendance and Assessment:

Attendance is compulsory. A register will be taken each session. 1. Each unexcused absence will normally reduce your overall grade by an

incremental amount. 2. If a student misses 30% of the total number of lecture classes (in this case, 5)

without reason, they will automatically lose the ability to submit a final paper or research project for credit. However, see below.

3. If you are to be absent for a legitimate reason (medical, family, etc.), please be sure to see me ASAP. Note that part-time work does not constitute a legitimate reason between the hours of 9am and 6pm on a week-day.

4. Pre-study and class preparation: all students in this course should be sure to fully cover any provided study materials and other work before class. Be sure to devote enough time to this so that both class work and assignments run smoothly.

Moreover, though normally a student may miss 30% of courses

before it becomes possible to submit final assessment, this

course is different. This is a group effort. It requires everyone

to pull as one. Therefore, whist missing lectures will be treated

normally, missing a single rehearsal class, without a reason

will mean an instant review. Please think of the class.

Also, sleeping in class will be considered an unexcused absence. We are all busy, but dozing is disrespectful to the rest of the class.

Student’s achievement of the stated course objectives will be measured in terms of their performance in the following areas:

1. Performance 35%

2. Final Exam 20%

3. Student Logbook 30%

4. Class Engagement 15%

The Final performance will be based on a play selected by the class as a whole, who will refine the script, manufacture props and develop characters in line with the advising given by the class tutir

iCLA ACADEMIC DISHONESTY POLICY

Acts of Academic Dishonesty: In accord with University policies and good practices in higher

education, acts of academic dishonesty such as plagiarism, cheating, forgery (on a paper, examination,

test, or other assignment) will result in the failure of the course at a minimum. An act of academic

dishonesty during the final examination or assignment in lieu of the final examination will result in

failure of all courses registered in the relevant academic term. Cases of academic dishonesty will be

reported to the Dean of Academic Affairs for relevant action.

CLASS FORMAT: Each Week will be divided into a Lecture and a rehearsal session. The lecture will present the main views on each subject area and provide the students with a starting point for their own thought. The follow-up rehearsal will give the class time to put this into practice.

Any videos where possible will be subtitled in English, however in some cases it may only be possible to provide English synopses and in others no language support at all. Be advised.

SCHEDULE:

Session One. Introduction: Course outline, and Q/A.

Session Two Screening: The Five Bandits

Session Three: The Ichikawa Family

Lecture: Ichikawa Family, kabuki actors flourishing in Edo (modern Tokyo) from the 17th century to the present. The most famous names are Danjūrō, Ebizō, Danzō, and Ebijūrō, and, according to kabuki convention, these names were assumed by a natural or adopted son of the Ichikawa family when his skill entitled him to inherit the mantle of a famous ancestor.

Discussion: We shall focus specifically on Ichikawa Danjuro I and II, as they are the Father’s of the form of Kabuki we shall practice in this course.

Session Four: Aragoto techniques.

Discussion: Aragoto (荒事), or rough style, is a style of kabuki acting that uses exaggerated, dynamic kata (forms or movements) and speech. Often, aragoto actors wear bold red or blue makeup (kumadori), and have costumes that are padded and enlarged. The term aragoto is an abbreviation of the term aramushagoto, which literally means "wild-warrior style".

In this Week we shall also discuss and decide the play to be reproduced in the final performance.

Session Five: Kumadori techniques.

Discussion: Kumadori (隈取) is the stage makeup worn by kabuki actors, mostly when performing kabuki plays in the aragoto style. The term also applies to a painting method in which two brushes are used simultaneously, one for the color and the other used to create shading or other details.Kumadori makeup generally consists of brightly coloured stripes or patterns over a white foundation, the colours and patterns symbolising aspects of the character. Though kumadori was originated and developed

extensively by members of the Ichikawa Danjūrō family of actors, some conventions are creations of the Onoe Kikugorō line.

In this Week we shall also discuss and decide the character assignments for the performance.

Session Six: Kumadori practical session, in which each person will design their own make up, based on the character assigned.

Session Seven: Play Screening

This week we shall examine the scene chosen as performed by the Ichikawa troupe, and begin to establish connections to the roles.

Session Eight: Mie (見得)

The mie, pronounced 'mee-eh'), a powerful and emotional pose struck by an actor, who then freezes for a moment, is a distinctive element of aragoto Kabuki performance. Mie means 'appearance' or 'visible' in Japanese, and one of the primary purposes of this convention is to draw attention to a particularly important or powerful portion of the performance. It is meant to show a character's emotions at their peak and can often be a very powerful pose. The actor's eyes are opened as wide as possible; if the character is meant to seem agitated or angry, the actor will cross his eyes. In Japanese, the mie pose is said to be "cut" by the actor (見得を切る, mie wo kiru). Audience members will shout out (kakegoe) words of praise and the actor's name at specific times before and after the pose is struck.

This week we shall establish the classes familiarity with this essential of kabuki

Session Nine: Onnagata

Onnagata (lit. "female form") are male kabuki actors who specialize in playing female roles. As professional kabuki is restricted to male performers, all female roles are played by such men.

The practice of having men play women was a part of the earliest kabuki, as founded by Izumo no Okuni in the first years of the 17th century. At that time, men and women played the reverse gender roles onstage, chiefly for comedic and erotic effect. Women were banned from appearing onstage, however, in 1629, as a result of the ties between kabuki and prostitution, marking the beginning of all-male casts playing roles of both genders.

Not all student will portray onnagata, but it is important that everyone be familiar with the techniques.

Session Ten to Fifteen will be dedicated to rehearsal and prop construction.

There is no strict plan for these sessions. That is why attendance is essential. Rehearsals will have begun before this time, but by now, the students will be

in charge of the class, and I shall be reduced to the role of an advisor and adjudicator.

Week Sixteen: Performance