Kabuki originated in 1603 in Japan and emerged from Noh theater, though they have key differences. Kabuki focuses on dance ("kabuki" means "to lean" referring to dancing) while Noh emphasizes dance as a separate element. Kabuki features actors portraying heroes, females, thieves, and more with significance placed on costumes and facial paint to convey characteristics. Though Kabuki and Noh still exist today as traditional Japanese performing arts, it is important to preserve these cultural forms for future generations.

1. Seijo Univ.
Hideo Imai

4.  Kabuki started from 1603
『かぶき者』=2 meanings
1. “strange things”
“the crazy ones”
“outlaw”
2.「かぶき」＝傾く(lean)
 Dancer (歌舞伎踊り）
歌舞伎踊り
『阿国歌舞伎図屏風』
(Kabuki-dance)
かぶ

5. （１６２９）
か ぶ き おどり おんな か ぶ き

6. 女歌舞伎
（Women-kabuki)
男歌舞伎•
やろう歌舞伎
(Men-Kabuki)
若衆歌舞伎
（Youngman-
Kabuki )
400 y/o

8. 1. 立役(Tachi-yaku)
Tachi-yaku represents hero who saves
woman’s life. They are usually young
and good-looking men. They are not
evil and old.

9. 2. 女方(Onna-gata)
Male acts for female character with
lady’s voice, behavior and emotions.

10. 3.お嬢吉三 (Ojou-kissa)
woman  man (thief)
[The picture was taken from 『三人吉三廓初買』]
Change

11. COLORS
In Kabuki, face colors are very
important to understand their
characteristics.
COLOR
Skin
Face
Paint

12. WHITE
RED
Skin
•Young
•Good man
•Handsome guy (いけめん)
•Noble (e.g. King, くげ）
•Bad man
or
•Energetic (e.g. 金太郎）

13. White-Blue
Brown
Skin
•Good man  Bad man
(disguise)
•Lower class
•Old man
•Evil
※Not famous actors
民谷伊右衛門 四谷怪談

14. Face
Paint
(Hero) (Villain) (Demon/Monster)

15. Three evidences

16. 女歌舞伎
（Women-KABUKI)
男歌舞伎•
やろう歌舞伎
(Men-KABUKI)
若衆歌舞伎
（Youngman-
KABUKI )
KABUKI (1603~) < NOH (1375~)

17. <能（Noh)>
 Noh represents DANCE.
e.g.) 「能の舞（まい）」
踊り（＝Dance）
<歌舞伎(Kabuki)>
 「かぶき者」= 「傾く（lean)」 Dance
かぶ

18. <Kabuki>
Stage
は
な
み
ち
SeatsSeat
<Noh>
Stage
はしがかり
Seats
Seats
resemble

19. •Presumably, Kabuki immerged from Noh.
However, both play have different way
to attract people.
•Both Kabuki and Noh still exist as
Japanese traditional performance act.
Thus, it must be necessary to inherit
or protect these wonderful culture for
the future generations.

20. 『歌舞伎の世界』, 1989, 藤波隆之(講談社）
『歌舞伎にアクセス』, 2002, 伊達なつめ
『歌舞伎への誘い』〜歌舞伎の歴史〜
http://www2.ntj.jac.go.jp/unesco/kabuki/j
p/2/index.html
Interviewee:
Mr.Yonekichi-Nakamura, 中村米吉 (2014)