Advantages And Disadvantages Of Kabuki

While ongoing change became the status quo in late-Tokugawa era Japan the ideals of the samurai—and the respect they receive—endured. And, because samurai could still fall back on the prestige their class represented, members of society still

Ukiyo-e is the name given to one of the most important art forms in all of Japan. Arriving as a new form of art in the 1700's these prints served as a record of daily life and pleasures in a newly wealthy Japanese society. The Japanese themselves had long regarded pleasure as transient because of their Buddhist heratige, because of this the word Ukiyo-e actually means "pictures of the floating world". These prints were truly art which reflected the whims of the masses. They record popular styles of dress, new hairstyles etc. They also record the popular Kabuki theater actors, the most beautiful geisha's (or prostitutes), and later even landscapes. Within the realm of Ukiyo-e there are many masters, but there is one master,

The Tokugawa period or otherwise known as the Edo period has been recognised as an extremely significant aspect of Japanese history and left history changing effects on the country. In this essay, five primary aspects of the Edo period, which has helped produce present day Japan and had greatly impacted on the nation during this period will be addressed:

Wood block art was aimed at the prosperous merchant class with images of beautiful women, historic events, kabuki actors, sumo wrestlers, folk tales, landscapes and beautiful flowers, and erotica.

The Great Wave by Christopher Benfey shows a glimpse of “Old Japan” and its fascinating artwork around the time of the cultural tsunami in 1854 followed by the time of American Fascination. This book is not so much a book on Japan, more or less it is a piece comparing the U.S. and Japan by looking at topics like cultural and social aspects faced by both countries. Towards the latter half of the book, Benfey really keys into aspects like Jiujutsu and martial arts along with forms of Japanese art and the idea of expressing ones spirit.

The shogun government created laws to control the art form, which became popular among the social class of the townspeople, to control the people through the art. A lord, Iemitsu, banned Onna-Kabuki as being immoral because women at the time, in the eyes of the government, should not be participating in the art form. Later, when young boys took the place of women in female roles it occurred that “certain samurai warriors became attracted to the young boys” (Nadel/Strauss 147). In an attempt to make the warriors be more honorable and not demoralize themselves the government made laws against young boys performing in Kabuki in the year

The Tokugawa Period, also known as the Edo Period, ranging from 1603-1867 was the final period of traditional Japan. It was said to promote internal peace, political stability and economic growth and was under the Shogunate (military dictatorship) created by Tokugawa Ieyasu. During this period of Japanese history, there were three main contributors to its successes and failures. Tokugawa Ieyasu shaped the period by creating supremacy over the whole nation, the agricultural flaws of the land opened new and innovative doors for food and culture and the Bushido code developed an honourable way of life and created hard-working social classes for many years. Therefore, the three aspects of key individuals, geography and Bushido was significant to the growth and success of Japan.

Created through the warrior traditions of the Samurai during the Feudal Age, Japanese martial arts originated not as a sport, but as a defense for the kingdoms. Born out of a necessity to protect one’s country from assailants, the samurai were proficient in

Post-war Japanese society is a world where High and Low art is blurred together by otaku, such as anime, and social class. However, Takashi Murakami straddles the line. Murakami spills a mix of Nihanga and Otaku into the canvases, plastic toys, handbags, shoes, etc; endorsing his own theory/style named “Superflat”. Using strategical subject matter such as popular Japanese comic figures combined with ukiyo-e(traditional Japanese block prints), and addressing these contrasting qualities to outside cultures; Murakami intensifies what Pop Art accomplished, art versus material. On other feelings, one could argue that “Superflat” isn’t a unique, Japan-identified style, that “Superflat” is a humiliation to the Contemporary Art world because of its commercialism. Lastly, that is a continuation of the already well developed Pop Art. On the supporting side, Murakami’s “Superflat” is a high-energy, cross-culture style that serves as a new way to represent the high and low of art that is considerably unique to Japan. To support this, Murakami’s past and present artwork will have to be established chronologically to illustrate how the timeline affects his work.

This essay will discuss the extend of which the pioneers of Shingeki managed to adapt western style drama and incorporate it in their particular style, by analysing their approaches and expectations. Through a comparison between Japan’s oldest and most traditional theatre style and Shingeki , translated in English as New Theatre, mentioning other forms of traditional style that were touched by the western influence, , this essay aims to highlight the extend of which the Japanese theatre has been influenced by the western style.

Japan is an unique oriental country in many aspects, especially in politics and economy, both western practices and traditional nationalism are coexisted in this country. The period 1890-1940 was just followed the Meiji restoration, and was typical in the history of Japan, at that time, Japan was on the way from a feudal country to a capitalistic country, called modernization. Many western practices were being more and more adopted, however, at the same time, traditional rules still had strong influences in Japan. Under this background, this report will discuss the Japanese cultural factors during 1890-1940 that influenced the disclosure

They are the ritualization in Japanese culture, women’s implicit expression of love, women’s hierarchy in 18th Japan, and how the landscape of Japan influences the prosperity of Geisha culture.

Sakoku, or the national seclusion, of Japan by the Tokugawa Iemitsu in the 1630s was one of the most important periods in Japanese history. Many people perceived that Japan became uniquely unique because of the Sakoku. However, during the Sakoku, Japan was not complete sealed off from foreign influences and trades. The national seclusion of Japan is believed by some people that there is only limited trade with the Dutch and Chinese in Nagasaki. According to Oxford Art Online during the Edo period, the Bay of Nagasaki is “the only port open to overseas trade” (Bonnie), which was not true. During the Sakoku, Japan was not restricted to only the bay in Nagasaki, but Japan had total of four designated places that allowed foreign contacts. Before the detail of the four areas of foreign relations during the Sakoku period, the reasons for the Sakoku need to be explained.

To what extent does stage design impact, influence, and enhance a traditional Kabuki theatre performance, more specifically, in the eighteenth century play Yoshitsune Senbon Zakura (Yoshitsune and the Thousand Cherry Trees) written by Takeda Izumo II, Namiki Senryû I, and Miyoshi Shôraku?

In Kabuki theatre, everything that is seen on the stage is the result of a meaningful inner dynamic which completes the performance by the coordination of the actors with all the various components of the mise-en-scène and then by the traditions of all the various elements being assembled into an organic whole (Kawatake 1990, 247).