Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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KANZE KASETSU (1884–1959) • 161

some believe Zeami had a hand in these as well. The plays are

considered somewhat more in tune with their age and with actuality

and dramatic necessity than are Zeami’s, making them somewhat

more accessible. Motomasa was not well treated by shogun Ashikaga

Yoshinori, and spent his last years with Zeami under unfavorable cir-

cumstances. Although he appears to have led the Kanze family for

several years, after his death his cousin On’ami (see KANZE

MOTOSHIGE) was designated third Kanze tayu

and Motomasa was

not ofﬁcially counted in the line of succession. Zeami was over-

whelmed by his death and feared for the extinction of his art until he

found a successor in Konparu Zenchiku.

KANZE KASETSU (1884–1959). No

master of the Kanze ryu

shite actors. At four, he made his debut as the kokata in Hibari

Yama. At eight, he played his ﬁrst shite role in Kappo. His father and

Umewaka Minoru (whose daughter he married) trained him strictly

and he became the sixth so

ke (see IEMOTO) in his line. In 1900, he

received his patrimony upon his father’s retirement, becoming Tetsu-

nojo

Kiyoginu VI, and, in 1918, made his brother, also called Orio,

his adopted heir. He and his t wo Um ewaka brother s-in -law estab-

lished the branch school called the Umewaka ryu

in 1921, which led

to his being shut out of Kanze artistic affairs, but he was readmitted

in 1929. Following the destruction of his home in the Great Kanto

Earthquake of 1923, he built a combined home and theater in Nishi-

machi, Shitaya, Tokyo, reorganized his students—who belonged to

an amateur group called the Tessenkai—into a professional troupe

called the Enno

kai, and made this his headquarters; his family

became known as the Nishi-machi Kanze.

Upon the death in 1939 of Kanze Sakon Motoshige, he was given

the guardianship of the Kanze headship, seeing to the training until

1950 of the next so

ke, Kanze Motomasa (the next Sakon), 25th leader

of the school. His Nishi-machi theater/home was destroyed during

World War II but, after the war, he became active again at a theater

in Tamagawa. In 1947, he took the name Kasetsu, giving his former

name to his brother. He was elected to the Nihon Geijutsuin (Japan

Art Society) in 1952. In 1956, he inaugurated the Tessenkai stage in

Aoyama. During his career, he also wrote and performed in new no

plays. His other accomplishments include the 1951 restoration of

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162 • KANZE KOJIRO

NOBUMITSU (1435–1516)

Motomezuka to the Kanze reper tory, based on his research in the

family’s production records.

KANZE KOJIRO

NOBUMITSU (1435–1516). No

actor and play-

wright, seventh child of the great On’ami (Kanze Motoshige). He

began his career as a Kanze ryu

taiko master, also excelling at the

tsuzumi (see KOTSUZUMI AND O

TSUZUMI). Following the early

deaths of his brother, Kanze Masamori, fourth tayu

of the school,

and Masamori’s son, Kanze Saburo

Yukishige, the ﬁfth leader, he

undertook the training of the sixth leader, the young Kanze Motohi-

ro, even playing shite roles when necessary. At the conclusion of the

nin Wars (1467–77), Kojiro

became the Kanze representative.

He wrote plays in which the waki had nearly as much dramatic

impor tance as the shite. His 31 plays include a number in which

larger than usual casts appeared and in which the effects suggested

the kind of dynamism and accessibility for which kabuki would

become known. These plays, diametrically opposed to Zeami’s theo-

ries, were inspired by the confusion following the O

nin Wars, when it

became necessary to supplement the declining upper-class audiences

with commoners. The plays often include Chinese subjects, dragons,

demons, and the like, and their music is usually quite lively. Still

popular are Ataka, Cho

ryo

, Funa Benkei (with its unusual arrange-

ment of having the shite play two separate characters), Ko

tei, Kuseno-

to, Momijigari, Orochi, Rasho

mon, Ryo

ko, and Tamanoi. Neverthe-

less, he also wrote such yu

gen-based plays as Kocho

, Yoshino Tenjin,

and Yugyo

anagi

. His command of language and dramaturgy are

considered second only to those of Zeami.

KANZE MOTOSHIGE (1398–1467). No

actor, also known as

On’ami Motoshige. Not much is known of his contributions. When

his uncle, Zeami, went into retirement, he passed his leadership as

tayu

of the Kanze ryu

on to his son, Kanze Ju

Motomasa, who

was not recognized by the government as the third in the succession

because the shogun Ashikaga Yoshinori preferred Motoshige. After

three decades of service, Motoshige made his son Matasaburo

tayu

but he returned to the stage in 1464 under the patronage of Ashikaga

Yoshimasa, surprising audiences by his robustness although well into

his sixties. He was responsible for ﬁrmly establishing no

among the

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KAOMISE • 163

warrior class and for conﬁrming their patronage of the Kanze school,

which continued into the Edo period.

KANZE RYU

. The most prestigious school of no

shite actors. There

are also Kanze s choo ls of taik o and kotsuzumi (see KOTSUZUMI

AND O

TSUZUMI) players. The former was founded as the Kanze za

by Kan’ami Kiyotsugu in the 14th centur y and presumably t ook

part of its name from the ﬁrst character in Kan’ami’s name. His son,

Zeami, was the za’s second tayu

, and Zeami’s nephew On’ami (see

KANZE MOTOSHIGE) succeeded him when Zeami’s son Kanze

Motomasa died young. During the Muromachi period, the sho-

gunate supported only the Kanze actors, and they became the leading

troupe during the Edo period; shogun Tokugawa Ieyasu was espe-

cially favorable toward them. The popularity of their chanting (utai)

led to their prospering from the Muromachi period on. In the 18th

centur y, the 15th leader of the school published a book that

attempted extensive reform of the language of the plays but his

efforts were not well received; however, some of his ideas survived

as alternate performance methods (kogaki). During the Meiji period,

when no

became an endangered form, it was kept alive by the efforts

of the Umewaka branch of the Kanze school (see UMEWAKA

MINORU) and the school was revived, eventually to be led by its

26th iemoto. The Kanze has more performers than any of the four

other schools. See also HO

SHO

RYU

; KITA RYU

; KONGO

RYU

;

KONPARU RYU

KANZE YAJIRO

NAGATOSHI (1488–1541). A waki actor and

playwright of the Kanze za (see KANZE RYU

the

son of Kanze

Kojiro

Nobumitsu. His plays include Enoshima, Oyashiro, Rinzo

Sho

zon, and others, totaling 25. The heir of his father’s methods, his

extant works are notable for their showy costumes, a nd th eatr ical

effects sometimes bordering on th e spect acul ar. He gave the waki

increased dramatic importance, used larger than usual casts, and had

rather active aikyo

gen interludes.

KAOMISE. The annual Edo-period ‘‘face-showing’’ productions held

in the 11th lunar month at which each theatre presented its new

lineup of actors. It was the most important production of the season

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164 • KARAIDO

and was given the most lavish advertising and presentation. It ran

until the 10th day of the 12th month. However, in Kamigata, starting

in the Ho

reki era, it began in the 12th month. In front of the theatres

gifts from sponsors (tsumi mono) were piled high alongside gifts to

the actors from their fans ( hiik i). Various kaomise customs arose,

such as the norikomi entrance by boat made by arriving Edo actors

before entering the Osaka theatres that had engaged them. There was

even a ﬁxed order of pieces on the program, which came into effect

around 1750, and even the subjects to be dramatized came to be set

by tradition. See also PROGRAMS: KABUKI; SEKAI.

The kaomise died out in the 19th century although it survives ves-

tigially in Kyoto, which sponsors a kaomise production at the

Minami-za featuring visiting stars from Tokyo every December.

KARAIDO. ‘‘The empty well’’ situated at the stage left side of the junc-

tion of hanamichi and stage in Edo-period Kamigata theatres, and

preser ved in the old Kanamaru-za in Shikoku. Capable of being

covered with a wooden lid, it allowed actors to use it for magical

entrances and exits in the audience’s midst. It could also be ﬂooded

for special effects. See also DOROBUNE.

KARAKURI. A popular kind of puppet theatre of the late 17th and early

18th centuries using mechanical puppets and stage effects. A single

string could make a mountain move, waterpower could create special

effects, or a spring could make a wagon revolve. Although such tricks

had been available even in the mid-16th century, they made consider-

able progress between 1624 and 1647, proving useful in miracle tales

and stories about the origins of religious institutions. In the 1670s,

almost all Kamigata puppet theatres made use of karakuri, the most

famous examples being on view at the Takeda Shibai associated with

the family of Takeda Izumo I.

KARAORI. Arichlybrocadedno

women’s costume whose name

means ‘‘Chinese weave.’’ It is small-sleeved and has the same form

as the atsuita, worn by men; only its weaving and designs (which are

not raised) are different. Although normally worn without hakama,

as by the maejite (see SHITE)inSenju, there are occasions (the

female tsure in Soshiarai Komachi, for example) when it is worn

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KATA: KABUKI • 165

with colored o

guchi or with a nuihaku folded over at the waist in

tsubo-ori style. Among other ways of wearing it is the nukisage,in

which the right sleeve is worn off the shoulder and draped behind.

KARIGINU. An overgarment worn by men in no

plays. (See also

SHI; HAPPI.) This ‘‘hunting robe,’’ known by its unique rounded

collar, is an exquisite lined or unlined garment originally worn by

nobles in ancient Japan. It is seen in no

on aristocrats and deities,

and is composed of separate front and back panels. Gold designs are

embroidered on a plain-colored ground. It is worn either over o

guchi

or hangiri. See also COSTUMES: NO

; HAKAMA.

It also is seen in certain bunraku and kabuki jidai mono. An exam-

ple is Ashikaga Tad ayosi i n t he prol og ue of Kanadehon Chu

shing-

ura. See also COSTUMES: BUNRAKU; COSTUMES: KABUKI.

KASA. Wide-brimmed straw hats worn in all forms of traditional Japa-

nese theatre, both as daily wear and as an effective prop in dance

plays. Kasa also means ‘‘umbrella,’’ a common property in bunraku

and kabuki plays, especially the latter. One of kabuki’s most memo-

rable sequences using an umbrella is Sukeroku’s hanamichi entry

(de)inSukeroku Yukari no Edo Zakura.

KASHIRA. See PUPPET HEAD CARVING; PUPPET HEADS; PUP-

PET HEADS: FEMALE; PUPPET HEADS: MALE.

KASUMI MAKU. A kabuki curtain with pale blue stripes over a white

background. It serves to disguise the platform on which onstage

musicians perform. See also DEBAYASHI.

KATA: KABUKI. Kata are the conventional ‘‘patterns’’ or ‘‘forms’’

found in traditional Japanese theatre. In kabuki, kata extend from act-

ing to properties, costumes, wigs, music, scenery,a

dmakeup,

and even to the arrangement of a program. Those kata that proved

successful were handed down to later actors and are often associated

with the actors who created them. Actors may employ ever ything

learned about such a kata or only what seems appropriate to their

interpretation; under cer tain circumsta nces , and depend ing o n the

prestige of the actor, they may also alter traditional kata or create

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166 • KATA: KYO

GEN AND NO

new ones. Some plays, especially jidai mono, are mired in kata tradi-

tions, while others, mainly sewa mono, may have only loose tradi-

tions that the actor is free to interpret in his own way. One may also

refer to general types of kata, such as those for walking, running,

crying, laughing, etc.

Kabuki aﬁcionados take great pleasure in comparing the stage

business kata of one actor or tradition with another. Thus, they will

notice that there are two established kata in Kajiwara Heiza Homare

no Ishikiri for the moment that Kajiwara tests a sword by striking it

against a stone basin. In one approach, the actor turns his back to the

audience when he strikes the basin, while in the other he stands

upstage of the basin and strikes it while facing the audience, and then

jumps through the gap created.

Kata were continually undergoing revision during the Edo period

but, at the turn of the 20th century, a tendency set in to make the kata

permanent because of fear that kabuki might not otherwise survive.

The ﬁnest kata were described in writing by scholars for posterity.

Today’s kabuki is thus indebted to the kata in place during the Meiji

years, many of them associated with the actors Ichikawa Danju

IX, Onoe Kikugoro

V, and Ichikawa Sadanji I. In modern times,

actors often record their interpretations in published commentaries

(geidan).

KATA: KYO

GEN AND NO

. Kata in these genres may refer to:

• speciﬁc units of movement of either a dance or dramatic-

mimetic nature, each of no

’s 250 or so having its technical name,

and any of which may appear in other plays looking the same

but differing because of the context. About 30 kata are speciﬁ-

cally used in dance. Many are shared by no

and kyo

gen, although

the latter, because so many of its kata are based on everyday

behavior, has far more than no

. See also MAIGOTO.

• ﬁxed and conventional patterns, which may be referred to as the

kata of a speciﬁc performer, school of no

, or play, and which—

despite kata for

speech and chant (utai)—normally

apply to

movements.

• movement per se, in contrast to chant or music, when observing,

for example, that the quality of someone’s kata is poor.

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KATA: KYO

GEN AND NO

• 167

• literary contents, as when saying that the piece has more of one

kind of structural component than another. See also YO

KYOKU.

The most common usage is the ﬁrst, which no

commentators have

divided into four types, and most of which involve use of the fan.

These include:

• pure dance movement kata: movements without clear meaning;

for example, sayu

(‘‘left-right’’), extending the left sleeve, drop-

ping the right, and moving to the left, followed by the reverse

procedure to the right.

• dramatic-mimetic kata: movements that, despite being highly

aestheticized and dance-like, reﬂect actual behavior, such as

sleeping, cr ying, drinking, pouring, etc.; for example, shiori

(‘‘downcast’’), bringing one or both hands, palm open and facing

upward at an oblique angle, a half foot or so from the face, to

suggest weeping.

• scenic description (jo

kei) kata: behavior suggestive of environ-

mental circumstances, which is important on a stage empty of

scenic references; for example, omote o tsukau (‘‘using the face/

mask’’), looking about with only the masked face to suggest

feeling the wind.

• nonspeciﬁc kata: movements that—depending on context—may

or may not have dramaturgical signiﬁcance: for example, ashibyo

shi (‘‘stamping’’), which has a number of named variations.

Stamping is believed to have its origins in subduing evil forces

beneath the earth’s surface.

movement kata consist essentially of formally composed verti-

cal and horizontal movements, with the body moving forward or

backward, to the right or left, in circles, in addition to movements of

looking up or down and movements of the arms. There is rarely any

twisting or curving body movement. All movement—whether

abstra ct or concre te —must b e bot h b eaut iful and psy chol ogic al ly

appropriate to character and situation. The subtlety of no

movement

is attributed to both Zen Buddhist inﬂuences and the increasing ten-

dency to abstraction resulting from centuries of r eﬁnement under

patronage by the Edo-period samurai class. Movements may some-

times make logical sense only when performed to words that give

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168 • KATAGINU

them meaning; at other times, they may not have any discernible

meaning. An important kata that has no movement at all is called

iguse (‘‘kuse in place’’) and requires that the actor,oftenforan

extended period of time, sit on one knee, face looking down slightly,

as the chorus sings a lengthy, important passage. Despite the actor’s

immobility, the iguse is considered one of the no

actor’s most difﬁ-

cult moments because he must be totally focused on the internal spirit

of the character through what is called ‘‘action in silence’’ (seichu

). Many kata have minor variations speciﬁc to the schools of no

The kata of the Kanze and Ho

sho

ryu

are said ‘‘to concentrate on

details producing a neat and sharp, smaller effect, while the Komparu

[Konparu], Kongo [Kongo

], and Kita schools are more fond of

broad dramatic poses, which produce a larger effect’’ (Nakamura

1971, 227).

KATAGINU. The wing-like vest worn with or without hakama (or the

long, trailing nagabakama) by various male char acte rs, chanters,

musicians, and stage assistants in all forms of traditional Japanese

theatre. (See also KAMISHIMO.) Although lower-class characters

may wear it (without hakama), it typically represents formal dress.

See also COSTUMES: BUNRAKU; COSTUMES: KABUKI; COS-

TUMES: KYO

GEN; COSTUMES: NO

KATAHAZUSHI. A wig worn by women in bunraku and kabuki plays,

in which an ‘‘off kilter’’ bun is wrapped around a tortoise-shell hair

ornament. It is seen in jidai mono on high-ranking palace women and

also gives its name to these important characters, like Masaoka in

Meiboku Sendai Hagi.

KATAIRE. A kabuki costume that symbolizes the poverty of the char-

acter—typically an unemployed samurai—by sewn-on, p atc h-like

pieces

cloth at the shoulders. The patches are also called kataire.

Kanpei in Act VI of Kanadehon Chu

shingura wears the kataire.

KATAKI DO

SHI NO KOI. ‘‘Love between enemies,’’ a theme found in

bunraku and kabuki plays where lovers’ hopes are complicated by

circumstances that technically make them enemies and their love for-

bidden. In ‘‘Yoshinogawa’’ (Imoseyama Onna Teikin), for example,

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KATANUGI • 169

the feud between the parents of Koganosuke and Hinadori leads to

the young couple’s death. In Kanadehon Chu

shingura, Rikiya and

Konami are engaged to be married, but after her father, Honzo

, holds

Enya Hangan back during a confrontation with the villainous

Moronao, the betrothed couple’s families become enemies. ‘‘The

path of true love never did run smooth.’’

KATAKIYAKU. The ‘‘villain’’ role-type (yakugara)inkabuki and the

actors that specialize in it. Subtypes include evil princes (kugeaku),

evil samurai (jitsuaku), evil retainers or minor villains (hagataki),

wicked townsmen (tedaigataki) such as dishonest clerks (banto

) and

apprentices (tedai), sexy villains (irogataki and iroaku), middle-aged

villains (ojigataki), and old men (oyajigataki), etc.

KATANA. ‘‘Swords,’’ which appear in all forms of traditional Japanese

theatre and play a major role as weapons, works of art, and objects

of veneration in Japanese history. Kabuki, in particular, has a wide

variety of swords.

Sword use mirrors Edo-perio d pract ices , wit h samur ai ca rryi ng

two swords, a long sword (tachi, taito

,ordaito

) and a short sword

(shoto

), while commoners bear just the shoto

. The sword is sheathed

in a lacquered scabbard (saya) adorned with artfully knotted cords.

The handle is separated from the blade by the tsuba (‘‘hilt’’). There

are a number of special property swords, including the huge o

dachi

used in aragoto;thenari tsuba,whosetsuba rings (nari) during

tachimawari, etc. Numerous plot lines in bunraku and kabuki revolve

around attempts to recover heirloom swords; even the documents

proving the swords’ authenticity are crucial proper ties. In some

plays, swords are bloodthirsty; merely drawing them is enough to

lead to unintentional mass murder.

KATANUGI. Also hadanugi, the

onstage baring by the kabuki actor of

one or both sleeves of the kitsuke to free himself for action, thereby

exposing his under-kimono, which has a contrasting design. In no

,it

is the wearing of the left sleeve of the happi or cho

ken off the shoul-

der and folded at the rear; those carr ying bows remove the right

sleeve. It is done by active men, mainly warriors.

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170 • KATAOKA JU

NISHU

KATAOKA JU

NISHU

. The ie no

gei collection of roles specialized in

by kabuki actor Kataoka Nizaemon XII. It includes Sanshichi Nobu-

taka in Yamato Bashi Uma no Kiri, Ishida no Tsubone in Hade Kura-

be Ishikawazome, Akagaki Genzo

in Kanadehon Suzuri no Takas-

hima, Seigen in Seigen Anjitsu; Kanko

in ‘‘Tenpaizan’’ (Sugawara

Denju Tenarai Kagami), Domo no Mata in Keisei Hangonko,O

kura

in Kiichi Ho

gen Sanryaku no Maki, Hachirobei in Sakuratsuba

Urami no Samezaya, Daimonjiya Suke’emon and Gonpachi in Kam-

iko Jitate Ryo

men Kagami, Yojibei in Chikagoro Kawara no Tateh-

iki,KimurainKeppen Tori, and Waki Kiyomaru in Kawara no

Wakare, the only new play in the group.

KATAOKA NIZAEMON. Thirteen generations of kabuki actors.

Yago

Matsushimaya. Nizaemon I (1656–1715) was a shamisen

player who became a Kamigata actor active as a zagashira and

zamoto and popular as the leading Genroku era katakiyaku of the

region, although he later switched to jitsugoto (see TACHIYAKU).

Nizaemon IV, who took the name in 1747, was also a famous

player of villains, although he left acting for playwriting, using the

name Katsukawa Sakiku. He returned to acting in 1755.

Nizaemon VII (1755–1837) restored the name, which had been

dormant, in 1787. For technical reasons, he was only the fourth to

actually use the name, several others having held it in trust but not as

stage names. This stout actor was an early 19th-century Kamigata

star, earning the highest critical ranks and being noted for his great

versatility.

Nizaemon VIII (1810–63) was the adopted son of Ichikawa

Danju

VII but the pair had a falling out and he left the Danjuˆro

family.

Nizaemon

VII adopted him in 1833 and, as Kataoka Gato

and then Kataoka Gado

II, he became a leading Osaka tachiyaku

although also known for his versatility. In 1857, he became Nizae-

mon VIII in Edo, returning to Osaka in 1862.

Nizaemon X (1857–1934), son of Nizaemon VIII, was active

mainly in Tokyo, and became one of the greatest in the line. He took

the name Nizaemon in 1907 in Osaka, but, late in life, was a doyen

of Tokyo kabuki. Highly versatile, he was respected as a preserver of

Kamigata wagoto traditions.

Nizaemon XII (1882–1946), son of Nizaemon X, was a popular

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