#Yoshitsune senbon zakura

[areyouafraid]

planning to watch later

[ayumunoya]

I downloaded all the Akira Kurosawa movies I haven’t seen yet, I started watching Yoshitsune Senbon Zakura kabuki, I am going to pick up the Kanji/Czech study book today from a library, I am planning to attend the traditional japanese ink painting classes…

Maybe I am finally getting from the two time rejection depression by the University. Jupiiiiii. I honestly spent everyday thinking about the two times I went there and they acted like I should know everything, made fun of me and so on. Felt like a biggest idiot on the Earth.

I am getting slowly back.

Still thinking abt if the Uni is worth it.

Let’s see.

[tanuki-kimono]

Hello! i saw your kimono drawing guide, and i have some questions. I saw this art and was wondering about a few things: what is the tied knot& tassel things on the sleeves for? and, what hairstyle is the lady wearing? If you know, please tell me! If you don't know, could it be possible to direct me to someone that might? Thank you for taking the time to answer, if you're able! Have a lovely night/day!

Hi and thank you for your question :) The ukiyoe you are sharing is by Utagawa Kunisada and titled Genji rokujo no hana (源氏六條の花), or "Cherry Blossoms at Genji's Rokujô Mansion". It is part of a three prints set:

It depicts an imaginary scenery from The tale of Genji, and the young lady playing with her pet cat is the princess Onna San no Miya.

Characters are not shown wearing period accurate clothes (from Heian era), but luscious Edo period attires. Because of her rank, the young princess is wearing what Edo princesses would, especially the trademark hairstyle named fukiya 吹輪.

You'll find below a translation from a costume photobook I did a while ago. Note the big bridge style front hairpin, and the drum like one in the back. Princesses from the buke (samurai class) would also have dangling locks called aikyôge (I also found the term okurege), but I am not sure kuge princesses (noble class) wore them too.

There is a whole dispute about this hairstyle, as we are not actually sure it was worn as such by actual princesses. This style may have in fact started as a somehow cliché bunraku/kabuki costume used to depict princesses (think a bit like Western Cinderella-types princess gowns). Nowadays, it is found only as a theater style, or worn by Maiko during Setsubun season.

For comparison, here is character Shizuka Gozen from kabuki play Yoshitsune Senbon Zakura:

As for the dangling cords, I covered those in a past ask about kamuro that you can find here (part 1 / part 2). TL:DR: I am still not sure what is the exact name for those decorations (kazari himo? sode no himo?).

But their use is pretty much linked to 3 things:

1) luck + protection (knots have auspicous meanings),

2) reinforcing weak points of garnment (here: sleeves wrist opening)

3) cuteness impact, as much like furisode (long sleeves kimono) those dangling ribbons were mostly seen on girls/young unmarried ladies by the Edo period

All the design elements chosen by Utagawa Kunisada for his Onna San no Miya stress own young and carefree she is still (which considering her narrative arc is in fact a bit sad... like all Genji Monogatari stories). BUT: bonus points for pet cat!

Hope that helps :)

[ruiniel]

Kusuriuri & Kitsune

This was likely noticed before but just thinking about how Kitsune are represented in culture and the likeness to the medicine seller's face markings/traits:

Fox Mask

Morita Kan'ya as Kitsune Tadanobu in Yoshitsune Senbon Zakura

Ichikawa Kodanji IV as Fox-Genkuro and Bando Kamezo as Yokawa Kakuhan

Kitsune:

"fox" or "fox spirit" - belongs to the yōkai family of supernatural Japanese creatures

shapeshifting abilities (usually as a young woman); the Kitsune can become extremely powerful and can take on any appearance, has the power to read & take possession of minds as well as dreams

believed to be the messenger of Inari Ōkami, a Shinto spirit which in ancient times was also the patron of swordsmiths and merchants

the more tails a Kitsune has—they may have as many as nine—the older, wiser, and more powerful it is

There are different types of Kitsune. Inari's Kitsune are covered in white fur, a color of good omen, possess the power to ward off evil, and they sometimes serve as guardian spirits

believed to be integrated in Japanese folklore from other cultures, where similar spirits had powers of illusion

In some legends, the Kitsune wears a necklace of beads around its neck to symbolize the 13 elements of Japanese mythology

masters of cunning

duality: portrayed as either mischievous or faithful in the role of guardian, friend, lover. Sometimes portrayed as playing tricks on overly proud samurai, greedy merchants or boastful commoners

Kitsune do not share human morality (as expected tbh)

Now:

definitely has shapeshifting abilities

"just a medicine seller" (merchant)

the mane of his sword and otherself is silver-white

possesses the power to ward off evil

possesses powers of illusion

necklace (though the pendant addition seems inspired by Ainu traditional wear)

is pretty sly, and surely displays cunning. Very foxy attitude throughout (let me have this)

duality: need not explain this one, linked to the shapeshifting

does not share human morality

Our medicine seller certainly displays some of the above traits but is unlikely to be a Kitsune (which is part of the mystery, love that). It's fun to see some mythological parallels though.

[text-josie-here]

Play Title: Yoshitsune Senbon Zakura  (Yoshitsune and the Thousand Cherry Trees)

Authors: Takeda Izumo II, Miyoshi Shôraku, Namiki Senryû I

History: The play "Yoshitsune Senbon Zakura" was originally written for the puppet theater (Bunraku) and staged for the first time in the 11th lunar month of 1747 in Ôsaka at the Takemotoza. It was adapted for Kabuki the following year and staged for the first time in the 1st lunar month of 1748 in Ise with Kataoka Nizaemon IV (Tokaiya Ginpei, Yokawa no Zenji Kakuhan) and Yamamoto Koheiji (Tadanobu). It was performed for the first time in a city licensed theater in the 5th lunar month of 1748, in Edo at the Nakamuraza [casting]. "Yoshitsune Senbon Zakura" was performed for the first time in Ôsaka, at the Naka no Shibai, in the 8th lunar month of 1748.

Full story for your eyes: https://www.kabuki21.com/ysz.php

[good-smile-company]

figma 狐忠信

https://www.goodsmile.info/ja/product/9241/

[mysticdragon3md3]

“Watch a kabuki classic at home: National Theatre uploads Yoshitsune Senbon Zakura for free【Video】“

[geisha-kai]

Setsubun 2017: geiko Fukusuzu performing a special skit by  sonatina2525 on Instagram

༼ つ ◕◡◕ ༽つ  Geisha-kai on P a t r e o n || Instagram

[meandmyechoes]

Notes on Visions’ costumes

Kara (The Ninth Jedi): cannot for the life of me decide if Kara’s hoodie classify as a kimono. The shortened length puts it in Haori but it doesn’t have a straight collar. Also it’s serving more as a main piece instead of a jacket over the kimono. And the fact that it is properly closed with possibly a Hanhaba Obi if not something even simple with the lack of a visible knot. The sleeve length is common though sleeve hole is not small so I can’t put it in Kosode despite the straight slanted collar. So in the end it’s really more a hoodie jacket with overlapping collars and kimono sleeves? I did consider if I could call her whole ensemble a Jinbei but there’s the Obi and she is wearing it as a formal representation of herself. Yeah, so it’s more a kimono-inspired design but the sleeves, belt and Tasuki cord has all the most recognizable elements.

F (The Village Bride): Naturally all the kimono-wearing ladies has a modern/fantasy twist to it. Out of the bunch F’s ensemble might be closest to tradition, but it was still paired up with high heels instead of ankle boots. This point was particularly noted on during the special programme by director Hitoshi Haga as he mentioned the crew brought in heels to try the look on. Another deviation is that her single-layer collar is open quite wide over a turtle-neck, plus the sleeves are cut much shorter than the usual combo of furisode and the belt area is simplified. So you’d call her look 和洋折衷/Japanese-Western fusion (term applicable not only to fashion).

Haru (The Village Bride): The silhouette of Haru's bridal costume is closer to a 1840-50 evening dress with an off-shoulder neckline and poofy skirt. Though white only became western bridal standard after Queen Victoria's example, it has been a symbol of purity and choice of wear in rites of passage since the 15th century in Japan. The complementing blue recalls the craft of indigo-dyeing, under the spotlight courtesy of Tokyo 2020's designated colour. Despite a classic bridal/princess dress, Haru's horn headdress could be a smart subversion to the traditional Japanese bride's Tsunokakushi hat. 角隠し literally means "hiding the horns", as a metaphor to remind the bride to hide her temper and to become an obedient wife. It is the opposite case with Haru, where her love gave her courage to face the bandits.

Ocho (Lop and Ocho): I was a bit confused at Ocho’s childhood look at first because her ensemble is the standard festive costume for three-year-old girls at Shichi-go-san. I suppose it lends to the character’s innocence? The red-mustard-turquoise palette is a bit garish at first but the components from head-to-toe is actually quite typical: A (tsumami/fabric flower) kanzashi/hairpin, contrast lining or juban, hifu/poncho with the same hinata kamon/three-dots-in-a-circle family crest as her father and a pair of tabi/socks and funegata geta/wooden flip flops. Even the crest placement is faithful. Oh— the white chrysanthemum wouldn't be out of place if it was her mother that just died…

Ocho’s grown-up look is dramatic, over-the-top, perfect. The palette is the same except a darker shade in navy blue replaced turquoise. The gigantic bow reminds me, besides her namesake/kanji ‘butterfly’, of kabuki actors. I found the character Genkuro wearing a similarly exaggerated tasuki and side-slit kimono. While the character doesn’t share much in common, its play Yoshitsune Senbon Zakura, bears a similar backdrop of sakura blossom season and sibling rivalry. In kabuki makeup called kumadori, red is hero and blue is villain. In the mean time, scarlet eye makeup for geisha ‘wards off evil’ (along with the practical effect of making one look more spirited). I am fascinated by the conjecture that while Ocho’s costume is hinting at her antagonistic role, the dramatic blood eyeliner signifies Ocho’s mindset in seeing herself as the hero of the story. Then there’s the usual colour symbolism (or lack thereof) of stripping one’s identity with plain white armour/uniform. The cherry blossom + river motif is fairly normal. Before I noticed the Kabuki connection, I thought the side-high-slits were perhaps inspired by cheongsam and anyway is an act of rebellion against tradition by cutting up the furisode (thank goodness the sleeves are visibly longer than Kara’s). Either way, that’s a really cool look for a crime boss with the thigh-high boots and tattoo sleeves. 

[retribctions]

TOSHIRO HILL AS GENKURO FROM YOSHITSUNE SENBON ZAKURA

The kabuki Yoshitune Senbon Zakura featured a shape-changing kitsune who disguised himself as Satō Tadanobu, a samurai who followed military commander Minamoto no Yoshitsune. Upon rescuing Yoshitune’s lover, Shizuka, Yoshitune rewards “Tadanobu” a suit of armor and the name Genkurō. At a later point in the play, Yoshitune meets with the real Sato Tadanobu. Thus, Genkurō undergoes a costume-change to reveal himself as a kitsune. In the ensuing dance and monologue, the kitsune describes his connection to the drum that Yoshitune has carried with him throughout the play. Shizuka and Yoshitune grant the spirit the drum, and Genkurō exits with the kistune roppo dance along the hanamichi portion of the theater. The fox spirit returns to aide the characters in the final act of the play.

Image Sources: Shizukuya’s Autumn 2021 collection,  Woodblock Print of Ichikawa Kodanji IV as Fox-Genkuro and Bando Kamezo as Yokawa Kakuhan, Kogatana Bonus: Yoshitune and The Thousand Cherry Blossoms (1985)

[arsnovacadenza]

talk about YoshiYori! I'm interested <3

To make things easier for those who don't want to hear me talk about this pairing, I'll be tagging future posts like this as yoriyoshi or yoshiyori. Also, let me know if you're fine with me using the 'ikemen genjiden', 'ikegen', or 'genjiden' tags when talking about this pairing. 

WARNING: half-brother shipping and history-fuelled BL/hetbend rant ahead. Will help if you know a lil’ bit about the Genpei Wars.

I admit I've been interested in this ship for quite a while, especially as some JP players seem to ship it. I can't find them anymore (All I find is mostly Yoritomo x Yasuchika. Do you know any JP artists that post about them?)

At first, I was more into Benkei x Yoshitsune thanks to the Genji PS games. But then I read this yaoi manga, Amasakaru, that has Yori Yoshi in a love-hate relationship and I thought "Yeah why not"

And it's not the pairing that's popular in Japan. It's their rivalry. The intrigue. Imagine Yoritomo pulling all his resources together to build a new GOVERNMENT and here’s Yoshitsune spoiling his plans and becoming more popular.

And the end? Yoritomo  freaking orders his mean to off Yoshitsune despite winning the decisive battles of Yashima and Dannoura for Yoritomo. 

What I love most about their potential dynamic is not just them being star-crossed lovers with conflicting ideals, but also due to their own character flaws that become a thorn in each other’s side, at least in history:

Yoritomo was known for having quite the temper when things didn't go his way. A noteworthy incident was when he raged at his daughter Ohime (5 or 6 around that time) for protesting against the execution of her betrothed (around 10 or 11) whom she deeply cared about. Said betrothed was a son of Kiso no Yoshinaka, a Minamoto who wanted to break away from Yoritomo. Ohime later passed away at 20 due to heartbreak.

Yoshitsune was seen by Yoritomo's confidants as an over-confident hotshot who liked doing things his way. In my opinion, Yoshitsune was a caring general who was proud of his own but didn't care much about anything else. Kajiwara Kagetoki (Yes, that fglasses Kagetoki) was one of his detractors. Kagetoki clearly had a hand in spreading rumors that led to Yoshi and Yori's relationship deteriorating.

It wasn't a one-sided jealousy as people like to think. According to the Japanese corpus wiki, it was Yoshi's inability to cooperate with Yori's Kamakura posse and his tendency to lean to Cloistered Emperor Go-Shirakawa that got in the way of their relationship.

But in the end, it’s Yoshitsune who became a demon in Shin Megami Tensei who’s more widely celebrated as a legendary hero. Not that Yori isn’t famous cuz he was the first shogun, but not enough to overshadow his lil’ bro

We have even an entire play dedicated to Yoshitsune's escape from Lord Kamakura (Yoritomo). The title is Yoshitsune Senbon Zakura and it’s also been adapted by the famous Takarazuka Revue

Along with 50-ish episode-long Taiga/period dramas I'll eventually have to watch. This one is Yoshitsune with Tackey as the lead role

((I can talk more about Yoshitsune related media including my all-time favorite Sukiyaki Western Django but I nearly forgot that this is about YoriYoshi so eh..) 

We also have Otome Games with a girl!Yoshitsune and Yoritomo as a suitor. They are:

Hoshi no Oujo ~Uchuu Ishiki ni Mezameta Yoshitsune, an old R18 game (yes, there are H-scenes with Yoritomo and the bad end is him being yandere or something not so sure)

Bilshana Senki which has an upcoming English release that I CAN’T.FREAKING.PLAY because I have no Switch. Yoritomo is the purple guy who’s looming above Shanaou aka Yoshitsune. Go check out @daeva-agas blog for some neat visuals and a sneak peak of Yoritomo

Other otomes like GENROH and Harukanaru Toki no Naka De 3 also have Yoshitsune as a suitor, but feature Yoritomo as an antagonist. Read about Genroh here. 

Also, there’s another part of their dynamic that may or may not work in Genjiden. However, I can't do it without addressing the elephant in the room. Skip this part below the gif if you have enough of happy YoshiYori for the day.

WARNING: Discussions of half-sibling incest, unequal power dynamics, and Stockholm Syndrome. Proceed at your own risk.

Their....familial relationship, believe it or not, adds another interesting but frankly disturbing layer to their dynamics.

They share the same dad and family name, yeah. But they've never even met each other until Yoshi’s an adult. To my knowledge, Yoshitsune was raised on Mt. Kurama with the belief that he has no family outside the priests he grew up with (he was simply known as Shanaou as a kid). Yori's practically a stranger the first time Yoshi meets with him. Putting YoshixBenkei aside, Benkei at this point is more of a brother to Yoshi than Yori has ever been.

And then we get to the more fucked-up aspect of this pairing. Blame Amasakaru coz I didn't come up with this one.

If anything, Yoshitsune’s desire to reconnect with the family he didn’t grow up with and de facto didn’t belong to (so far) makes it easy for Yoritomo to tie him down. Yoritomo can convince Yoshitsune into thinking that he can’t be a true Genji without ani-ue’s approval. Thus leading Yoshi to believe that he’ll never achieve his lifelong dream of defeating the Taira/Heishi and avenge his dad, which he mostly knows about from Yoritomo.

And when Yoshi does rebel and strive for independence, Yoshi will bring up some romantic bullshit to make Yoshi come back crawling. You know, good ol’ Stockholm Syndrome. As if Yori’s army coming for Yoshi and his pals’ corpses isn’t tragic enough.

Here’s also another thing that gives every otome version of YoshiYori an questionably happy ending if they do end up together. At that point of history during the Kamakura period, half-siblings are forbidden from marrying unlike in the earlier Heian period. Hell, it was even straight up banned during the Heian era’s later years. So to hammer the point in, a YoshiYori wedding will result in not just inbred but also illegal Genji babies. On the more realistic side, they either must avoid persecution or inflicting possible various health problems on their kids.

(Unless we’re going for the Yandere route in which Yoritomo locks Yoshitsune in an uguu cage of love because he wants to create a 100% Genji family. Which, actually does kinda happen in Hoshi no Oujo if I’m not mistaken?)

And then, there’s also the fact that 13 years apart. This is even canon in Bilushana where Yoshi is 16 and Yori is 29. Make of that what you will.

To sum up all the above fuckery:

Do you like a step above the usual forbidden romances and go straight for the taboo ones?

Do you like two deeply flawed and conflicted people in love but also going for each other’s throats?

Are you here to enjoy the pairing the way I enjoy Takashi Miike’s movies? For the complete and utter WTF factor?

Do you like dead dove, do not eat?

Then congratulations! YoriYoshi is a good candidate to fulfill all your needs!

But if not, you can stick with the fluffier parts, which I occasionally enjoy too.

So, that's all I guess. I completely understand that this pairing is not everyone's cup of tea and I respect that. But if you're here to enjoy heavy angst with a sliiiight chance of happiness, then by all means ask me more about this pairing!

I even have hetbend AUs with girl!Yoshitsune that have them being unrelated. Will someday copy-paste from Twitter @/terapimahal if I'm not too lazy.

EDIT: changed details about Hoshi Oujo to

[fgoocland]

Saber class Genkuro.

A character that appears in Yoshitsune Senbon Zakura. They are a kitsune that transforms themselves and pretends to be Sato Tadanobu one of Minamoto no Yoshitsune ( Ushiwakamaru ) followers. They did this in order to get close enough and take the Hatsune drum which had been made from the pelts of their parents. Despite not being Tadanobu and even actively denying it people still think Genkuro is Tadanobu, this is a side effect of their shapeshift skill.

another oc i have made i am mostly done their profile and it will be put up on toyhouse not gonna lie i kinda really don't like posting all my profiles on tumblr cuz it just takes a while to get it all set up. But yeah! have an imposter fox! also this is a genderless character so they/them pronouns

[thefrostyknight]

Fanservant - Berserker Sato Tadanobu

Minamoto no Yoshitsune and Benkei are famous warriors, well-known even to the modern day through play and stories. However, there were individuals who played supporting roles that allowed these warriors to shine. Among them is Sato Tadanobu, a retainer to Yoshitsune--and maybe an entity who isn’t entirely human.

Name: Sato Tadanobu, Genkuro Class(es): Berserker, Saber, Assassin, Rider Gender: Unknown Source: Heike Monogatari, Yoshitsune Senbon Zakura, Gikeiki Region: Japan Alignment: Chaotic Neutral

Sato Tadanobu is one of Minamoto Yoshitsune’s Four Heavenly Kings from the Heian period and he appears in most works with Yoshitsune. In Yoshitsune Senbon Zakura, Yoshitsune and his retainers flee from Yoritomo’s forces along with Yoshitsune’s mistress Shizuka Gozen. Shizuka refuses to go back to the capital and ties herself to a tree near the Fushimi Inari Shrine. Yoritomo’s forces arrive, but Sato Tadanobu suddenly appears and deftly defeats the forces. Impressed, Yoshitsune gives this Tadanobu the name Genkuro and along with Yoshitsune’s own armor.

This Tadanobu is revealed to be a white kitsune, seeking the Hatsune Drum Shizuka carries, while the real Tadanobu has been in his home province since the end of the Genpei War. Genkuro confesses the Hatsune Drum entrusted to Yoshitsune and Shizuka were made from the pelts of his parents. Yoshitsune offers the drum to Genkuro who takes the instrument and flees. Genkuro returns in the final act, shapeshifting into Tadanobu once again, and helps defeat Yoshitsune’s remaining enemies.

Servant Sato Tadanobu is a blending of the samurai and kitsune. An impostor who is identical to the real thing. Genkuro seems unconcerned about his origins, and relishes the freedom of his new incarnation after so many centuries seeking the Hatsune Drum. And yet, despite claiming his past obligations ended with his previous life, he can’t help himself from calling out to Ushiwakamaru or Tamamo-n-mae. 

Noble Phantasm(s): Hatsune Taiko: [Drum Which Ushers the Sun] (E) (Anti-Sky) A mythical drum from Yoshitsune Senbon Zakura made from the skin of Genkuro’s parents. The drum was made to be played to usher in the sun during New Year’s, but an emperor also used it to call for rain. Playing one side of the drum banishes clouds, while the other summons rain. A weak Noble Phantasm that does not do much (if any damage), but has some uses as a counter against enemies that power up in the sun or rain.

Gobanmemono: [The Final Act’s Improvised Rampage] (E~A+) (Anti-Unit) A continuous active Noble Phantasm that allows Genkuro to wield improvised weapons, and Rank Up said weapons to (B). Incidentally, if he gets his hand on a go board, the go board becomes (A+). The Noble Phantasm is a reference to the final battle to clear up loose ends in typical kabuki plays, but also an anecdote about Sato Tadanobu using a go board to beat to death assassins.

Mantle of the Minamoto: [The Armor of My Liege] (A)(Anti-Unit (Self)) A legendary story captured in the the Gikeiki and the Yoshitsune Senbon Zakura. To allow his fleeing master to retreat, Tadanobu volunteers to hold back their pursuers and asks to borrow Yoshitsune’s armor. With the armor, Tadanobu is able to convince the pursuing forces he is Yoshitsune and is able to cut them down. While donning the armor, Genkuro gains a massive boost to his luck stat and is able to use imitations of Yoshitsune’s skills and Noble Phantasms until his true identity is discerned. However, the armor will still give the boost in luck and offer extra protection.

Skill(s): Kitsune Roppo (B) (Fox’s Six Step) A fighting style unique to kitsune, at least according to Genkuro. The six forms resemble a fluid dance as Genkuro effortlessly cuts down his opponent. 

Shapeshift (Illusion) (B) A staple skill of kitsune and other Japanese monsters. Allows Genkuro to assume the shape of another, or turn invisible.

Madness Enhancement (B+) All parameters are Ranked Up, but most of reason is robbed away. Communication is possible and Genkuro’s mind is sharp enough to consider various strategies, but as a beast his morals are undoubtedly inhumane.

[sartorialadventure]

Onnagata or oyama (Japanese: 女形・女方, "woman-role"), are male actors who played women's roles in Japanese Kabuki theatre.

The modern all-male kabuki was originally known as yarō kabuki ("man kabuki") to distinguish it from earlier forms. In the early 17th century, shortly after the emergence of the genre, many kabuki theaters had an all-female cast (onna kabuki), with women playing men's roles as necessary. Wakashū kabuki ("adolescent-boy kabuki"), with a cast composed entirely of attractive young men playing both male and female roles, and frequently dealing in erotic themes, originated circa 1612.

Both onnagata and wakashū (or wakashū-gata), actors specializing in adolescent female roles (and usually adolescents themselves), were the subject of much appreciation by both male and female patrons, and were often prostitutes. All-male casts became the norm after 1629, when women were banned from appearing in kabuki due to the prevalent prostitution of actresses and violent quarrels among patrons for the actresses' favors. This ban failed to stop the problems, since the young male (wakashū) actors were also fervently pursued by patrons.

In 1642, onnagata roles were forbidden, resulting in plays that featured only male characters. These plays continued to have erotic content and generally featured many wakashū roles, often dealing in themes of nanshoku (male homosexuality); officials responded by banning wakashū roles as well. The ban on onnagata was lifted in 1644, and on wakashū in 1652, on the condition that all actors, regardless of role, adopted the adult male hairstyle with shaved pate. Onnagata and wakashū actors soon began wearing a small purple headscarf (murasaki bōshi or katsura) to cover the shaved portion, which became iconic signifiers of their roles and eventually became invested with erotic significance as a result. After authorities rescinded a ban on wig-wearing by onnagata and wakashū actors, the murasaki bōshi was replaced by a wig and now survives in a few older plays and as a ceremonial accessory.

After film was introduced in Japan at the end of the 19th century, the oyama continued to portray females in movies until the early 1920s. At that time, however, using real female actresses was coming into fashion with the introduction of realist shingeki films. The oyama staged a protest at Nikkatsu in 1922 in backlash against the lack of work because of this. Kabuki, however, remains all-male even today.

Oyama continue to appear in Kabuki today, though the term onnagata has come to be used much more commonly.

Every Kabuki actor is expected to have facility with onnagata techniques; and while it is tempting for Western opinion to equate onnagata with cross-dressing, or female impersonation, no kabuki actor's training is complete without mastery of what constitutes the techniques the Kabuki onnagata. The phenomenon is best identified with the kanji, 女形, for there is no English equivalent.

(In the prints of this era that I have seen, you can distinguish onnagata from women primarily by looking at their jaw: onnagata have a heavy, broad, masculine jaw, while women are generally drawn with a narrower jawline.)

1. Actor Nakamura Matsue III as the courtesan Agemaki from the play Sukeroku Yukari No Edo-Zakura, by Ryusai Shigeharu, 1830 2. Actor Nakamura Tomijûrô II as Ran No Kata, by Hasegawa Sadanobu I, 1840, from the play Gishinden Yomikiri Koshaku 3. Actor Onoe Kikugorô III as Shizuka Gozen in Yoshitsune Senbon Zakura (The Thousand Cherry Trees of Yoshitsune), 1830 by Ryusai Shigeharu 4. Actor Onoe Tamizô II as Okumi, The Ghost (Reikon) of Hôkaibô from phe Play Koi No Omokage, by Gatoken Shunshi, 1825

[huttson-blog]

Watch one of Japan’s best kabuki plays for free on YouTube — TimeOut

Read more at TimeOut

— by Tabea Greuner: Even though we’re staying home to avoid the spread of the Covid-19 coronavirus, there are still plenty of ways to enjoy Japan’s diverse culture, like watching this iconic kabuki theatre masterpiece…

Image courtesy of the National Theatre of Japan

[cryptidhanzoshimada]

Conflict of Interest

That sweet sweet theater actor/newspaper reporter AU for @mctiddiezo

Jesse heaves a sigh and sinks lower into the plush seat in the theater lobby.  To say that he doesn’t want to be here would be an understatement.  

He should be back in his office, or even back in the field, getting the last few details he needs to complete the puzzle that is ‘what is the Deadlock Gang’s new source of income?’.  He already knows it’s a new designer drug, and he was this close to finding out how they were bringing them into the city, but his editor, Gabe, just had to go bench him until he gets this cast off his arm and until, quote, “he learns enough god damn common sense to not jump out of a second story window”.

In Jesse’s defense, it was either that or get shot.

A soft bell chimes overhead and voice tells everyone to enter the theater.  Jesse downs the last couple sips of his whiskey and follows the crowd in.  

Just because he was benched from his usual investigative journalism beat doesn’t mean Gabe was going to let him not work.  With a gleeful smile Gabe re-assigned him to writing fluff pieces for community events which included this special kabuki performance at the downtown heritage theater.  Usually Mei writes this stuff but she’s sick with the flu so Jesse got the privilege of writing this fluff piece.

At least he gets a good seat.  Jesse sits down in the end seat three rows back and right next to the part of the stage that juts out into the audience.  As the rest of the patrons file in he opens the playbill to scan the details of the performance.  The play tonight is going to be excerpts from a famous Jidaimono play called Yoshitsune Senbon Zakura.  The play follows the travels of Minamoto no Yoshitsune as he tracks down three Taira clan generals who escaped justice at the end of the Genpei War.  Seems interesting enough.  

The lights dim before Jesse can read anymore and he settles in for what he assumes is going to be boring monologues.  The play starts with a swell of music and from the moment the first actor steps on the stage, he’s enraptured.  The actor moves with such confidence and power, it’s easy to tell that he’s playing Yoshitsune, and that he’s playing the role like he was born for it.  

Then he starts speaking.  His powerful, deep voice rings out across the audience, pulling everyone into the performance, especially Jesse.  He’s never seen a play like this, never seen an actor like this.  When he turns to scan across the audience Jesse feels his breath catch.  The dramatic white and reds of the makeup highlights his focused and intense eyes, dark brown pools that pull Jesse in and keep him trapped.

By the time the first act ends, Jesse has forgotten to take a single note for the article.

The play only gets better from there.  Beautiful sets, fight scenes that flow more like a dance, dramatic (not boring) monologues that get whole audience to sympathise with the characters.  When the curtain falls for the last time, Jesse is the first one out of his seat to start clapping.  The cast comes out for their last bow and everyone cheers louder.  

Most of the audience starts filtering back out to the lobby.  Jesse and a few others stick around to talk to the cast members.  Almost every goes up to the main actor to compliment him; Jesse waits patiently at the back of the line.  Right before it’s his turn he catches himself fixing his hair and adjusting his jacket and he has to remind himself that he’s just here for a quote, nothing more.

Finally, the actor is turning towards Jesse and he feels his breath catch.  Those eyes are even more intense up close and Jesse just wants to get lost in them.  He somehow musters enough self control to actually do his job and not sit there and stare like an idiot.

“Howdy, Jesse McCree from the Overwatch Tribune.  Is it alright if I ask fer a quote from ya fer an article?  Mister…?”

“Shimada.  Hanzo Shimada.  I would be honored to give a quote, but do you mind if we do this backstage?  I would like to get this makeup off.”

“Of course,” Jesse happily agrees.  He doesn’t mind spending a little more time with Hanzo.

He follows Hanzo backstage to the dressing rooms where he motions for Jesse to start asking his questions while he takes a seat in front of a mirror and attacks the makeup with a cloth.  Jesse fumbles with his notebook for a second then starts asking him the standard questions with a couple improvised ones thrown in.  

He quickly learns that Hanzo is well spoken and witty, that he has a subtly hidden sassy and dry sense of humor, and just how devoted he is to acting.  The questions get derailed into side conversations and what should have taken ten minutes keeps going and going and going.  It doesn’t help that when Hanzo finally turns around again, makeup free, Jesse’s brain stops working for a few seconds because oh my god that’s the most beautiful person he’s ever seen.

Jesse frowns as they reach the last question.  He has plenty of material to work with, too much probably, but he doesn’t want to say goodbye yet.  

Well, he didn’t become one of the best investigative journalists in the city without taking a few risks.

“Alright, one more question Mister Shimada.  Can I buy ya a coffee?”

Hanzo looks at him with a curious expression then smirks.  “Wouldn’t that be a conflict of interest Mister McCree?”

“Only if it affects the outcome of the article, but I have a feelin’ that won’t be a problem,” Jesse says with a smile.

Hanzo ponders the request for a couple seconds, making Jesse more and more nervous.  He’s about to say forget it when Hanzo finally speaks up again.  “Have you ever been to the cafe on First Street and Woodland?  They make amazing frappuccinos.”

Jesse walks out of the theater ten minutes later with a phone number and a smile.

Maybe this assignment wasn’t so bad.