(1572?-?) was the originator of kabuki theater. She was believed to be a miko at the Grand Shrine of Izumo
who began performing this new style of dancing, singing, and acting in the dry riverbeds of Kyoto.
History
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, 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 performances of
nembutsu odori (or
nembutsu dance) in honor of the
Amida Buddha. Though this dance traces its origins
to Kūya, a tenth-century evangelist of
Pure Land Buddhism, by Okuni's time it
had become a largely secular
folk dance,
and her particular adaptation tended to be known for its sultriness
and
sexual innuendo. Paul Varley,
Japanese Culture, 4
th Ed.. Honolulu: University
of Hawai'i Press. pp. pp. 186-187. ISBN 9780824821524. Other
popular themes for Okuni's acts included humorous skits about
lover's trysts at various public establishments and meetings
between men and prostitutes. Between these 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.
Founding of kabuki
Around 1603, Okuni began
performing on the dry riverbed of the Shijōgawara (Fourth Street
Dry Riverbed) of the
Kamo
River
and at Kitano Shrine. Gathering up the female
outcasts and misfits of the region, particularly those involved in
prostitution, Okuni gave them direction, teaching them acting,
dancing and singing skills in order to form her troupe. Several
theories exist as to the etymology of the word
kabuki, one
being that it is derived from those who, oddly dressed and
swaggering on the street, had been dubbed
kabukimono (from
kabuku "to lean in
a certain direction", and
mono, "people"). Another
possible origin is
katamuki, which means "slanted" or
"strongly-inclined." In either case, others labeled Okuni's
troupe's performances
kabuki
due to their eccentricity and social daring. 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.
As mentioned above, Okuni's troupe was exclusively female. Thus,
she required her actors to play both male and female roles. In
particular, Okuni herself was best known for her roles as
samurai and
Christian
priests. As her troupe gained fame, she was
emulated by many others, particularly
brothels, which offered such shows to amuse wealthy
clients, as well as to gain
prostitutes
who had marketable acting and singing skills. This new style of
exclusively female troupes became known by the alternate names of
shibai, onnakabuki, (from
onna, the Japanese word
for "woman" or "girl") and
Okuni kabuki.
Later years
Eventually, with the aid of Ujisato Sanzaburō, who supported Okuni
financially as well as artistically, kabuki evolved into a more
dramatic style. 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.
Okuni retired around 1610, and after that time she disappeared. In
1629, due to public outcry of morals, those under the shogun
Tokugawa Ieyasu forbade women from
performing in kabuki. This was quickly replaced by the use of young
men as actors/"actresses," though this was quickly banned as well
due to some of the same issues of prostitution and corruption of
morals, restricting the performances to those by older men, which
is a standing practice in the official theatres even today.
There are several theories of Okuni's year of death: some say in
1613, others in 1640 or 1658.
In November 2002 a statue was erected in her honor and to
commemorate 400 years of kabuki.
It is located on Kawabata Street at the
north of the Shijō Ōhashi, near the shore of the Kamo River in Kyoto.
Cultural impact
In addition to her 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.
See also
Notes and references
- "Okuni." Japan: An Illustrated Encyclopedia. Vol 2.
Kodansha. ISBN 4-06-206490-1.
- "Okuni." Japan Encyclopedia. Ed. Louis Frédéric.
Trans. Käthe Roth. Harvard University Press.
- Sign (in English) for Izumo no Okuni's statue in Kyoto
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