Izumo no Okuni
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Okuni (出雲の阿国 Izumo no Okuni?) (1572?-?) was the main founder of kabuki theater. She was believed to be a miko at the Grand Shrine of Izumo[citation needed] who began a new style of dance in the dry riverbeds of Kyoto.
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[edit] History
[edit] Early years
Okuni grew up in the vicinity of the Izumo shrine, where her father worked as a blacksmith, and where several other family members served. Eventually Okuni joined as a miko[citation needed], where she was known for her skill in dancing and acting, as well as her beauty. As it was a custom of the time to send priests, miko and others to solicit contributions for the shrine, she was sent to Kyoto to perform sacred dances and songs.
It was during her performances in Kyoto that she also became known for her innovation: her nembutsu dance, in honor of the Amida Buddha, tended to be known for its sultriness and sexual innuendo. Between this and other dances and acts, she garnered much attention and began to draw large crowds wherever she performed. Eventually she was summoned to return to the shrine, a call she ignored, though she continued to send money back.
[edit] The founding of Kabuki
Around 1603, Okuni set up a theatre on the dry riverbed of the Shijōgawara of the Kamo River. Gathering up the outcasts and misfits of society, who had been dubbed kabukimono (from kabuku "to lean in a certain direction", and mono, "people"), she gave them direction, teaching them acting, dancing and singing skills; naturally, she called her troupe's performances kabuki. The earliest performances of kabuki were dancing and song with no significant plot, often disdained as gaudy and cacophonous, but equally lauded as colorful and beautiful.
Though she required her male actors to play female roles and her female actors to play that of the males, she was known for playing roles of either gender. In particular, she was best known for her roles as samurai and Christian priests.
Eventually, with the aid of Ujisato Sanzaburō, who supported Okuni financially as well as artistically, kabuki evolved into drama. On a more personal level, Sanzaburō was also said to be Okuni's lover, though they did not marry. After his death she continued without him, continuing to merge the drama with the music and dance. Eventually, her fame and that of her kabuki troupe spread throughout Japan.
[edit] Later years
Okuni retired around 1610, and after that time she disappeared. There were many imitators of kabuki theatre. In particular, brothels offered such shows to amuse wealthy clients, as well as to gain prostitutes who had acting and singing skills. Eventually, due to public outcry of morals, the shogun Tokugawa Ieyasu forbade women from performing in kabuki, a standing practice in the official theatres even today.
There are several theories of her year of death, some say in 1613, others in 1658.
In 2003 a statue was erected in her honor, on Kawabata Street at the north of the Shijō Ōhashi, near the shore of the Kamo River in Kyoto.
[edit] Cultural impact
In addition to her supposed founding of kabuki, Okuni contributed to Japanese theatre in general. She is said to have introduced the forerunner of the hanamichi (path of flowers), a runway leading from the rear of the theatre and crossing between the audience to the stage. This has been incorporated in several Japanese theatre arts beyond that of kabuki.
[edit] Okuni in fiction
See Japanese historical people in popular culture.
[edit] See also
[edit] Notes and References
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This article does not cite any references or sources. (August 2007) Please help improve this article by adding citations to reliable sources. Unverifiable material may be challenged and removed. |
[edit] External links
- "Viva Kabuki!: Izumono no Okuni", Insite-Tokyo, February 1999
- "Izumo no Okuni", at Distinguished Women
- Izumo no Okuni, Japanese Art and Architecture Net Users System
