is a
genre of popular theatre in Japan
, frequently
described as "light theatre", and compared to forms such as
musical theatre and the revue.
Though different interpretations and definitions abound, the chief
distinguishing feature of
taishū engeki is the notion that
it is intended as entertainment for regular people. The form does
not purport itself to be high art, nor to contain deep or powerful
philosophical or political themes or messages.
Taishū
engeki troupes tend not to be connected with a single theatre,
but travel, performing at small local theatres, community centers
and the like.
Ticket prices are relatively low compared
with the major forms of urban theatre, such as kabuki, opera, and Broadway
musicals,
and efforts are made to inspire a feeling of closeness between the
audience and the performers.
Terminology
The term
taishū engeki, literally meaning "theatre of/for
the masses," came to be applied to the genre to distinguish it from
the more traditional of Japan's theatrical arts, such as
kabuki,
bunraku, and
Noh. Though kabuki, bunraku, and many other pre-modern
forms of Japanese performing arts were originally entertainment for
the peasantry or commoner classes, they have since come to be seen
as "traditional arts," and have come to bear an importance and air
of high culture which the
taishū engeki form is not
granted.
As a result of its literal meaning, the term "
taishū
engeki" is both vague and controversial. The form is a more
specific and singular one than the generic umbrella term of "mass
theatre" might imply. Furthermore, there are those within the
sphere of
taishū engeki who object to the plebeian
denotation of the word
taishū (the masses).
Nevertheless, for lack of a better term, the moniker of
taishū
engeki continues to be widely used.
Style
Bouquets of flowers given by fans to Tachibana Daigorō, for a
performance at the Miyoshibashi Theatre in Yokohama in November
2007.
Taishū engeki performances are generally split into two
sections. A short play or skit will feature most of the troupe in a
brief story, often set in the
Edo period
(in which kabuki and bunraku are also set), and featuring human
interest elements (see
sewamono)
as well as swordfights and historical or samurai themes (see
jidaimono). This is followed by a
series of dance numbers with no connection to the plot or
characters of the previous skit, each performer appearing on stage
alone, one at a time. The performers wear traditional-style kimono
and over-the-top make-up, dancing to
enka, a genre of melodramatic music akin to
lounge music;
fog machines and various lighting effects add to
the flashiness of the dance numbers.
Taishū
engeki shares much in common with the Takarazuka
form, and with the more traditional kabuki, but
unlike these forms which employ all-female and all-male troupes
respectively, taishū engeki features performers of both
sexes; young men frequently play female parts, though women rarely
play men.
The style of costumes and make-up is closely related to that of
kabuki, and uses porcelain white faces, bright red lips, and
emphasized eyes and eyebrows to create an overall aesthetic of
unreal, stylized beauty.
One of the primary distinguishing features of
taishū
engeki is the devotion and passion of its fans, and the
relative lack of distance between performers and audience. Troupes
sell various merchandise in the aisles during intermission, ranging
from DVDs of their performances to calendars and photo books, and
gather outside the venue following the show to sign autographs, and
to exchange greetings and take photographs with fans. This is in
contrast to many other forms of theatre in Japan and abroad where
audience members have very little direct interaction with
performers, who do not leave the stage for the aisles, and who slip
out a rear door of the venue following the performance.
It is not uncommon for
taishū engeki fans to present their
favorite performers with personalized letters and gifts, most
frequently large elaborate bouquets of flowers or simply cash, in a
custom called
go-shūgi (ご祝儀), meaning "congratulations".
Fans approach the stage during the dance portion of the show, and
slip a letter, envelope, or
10,000-yen bill into the
performer's kimono or
obi (belt), shaking hands
or exchanging a quick word with the performer as he stops dancing
to kneel down at the edge of the stage to receive the fan.
Actors
There are currently estimated to be over 100
taishū engeki
troupes in Japan, each made up of less than twenty performers.
Leadership of a troupe, and rank within it, is passed down in a
hereditary fashion, and members of a troupe generally share a
family name, though performers are quite frequently adopted into a
family troupe, and may not be related by blood. It is also not
uncommon for the sons of troupe leaders to branch off and begin
their own troupes. Troupes, and individual performers, as in
kabuki, wield individual crests or
teimon which are displayed on banners, theatre
curtains, and sometimes on costumes.
Taichi Saotome and
Daigorō Tachibana are two of the most
popular current actors.
References
- Engeki-graph official website. http://www.engeki-g.com/. Accessed 08 Jan 2008.
- Kuhn, Anthony. "Teen's Female Performances Draw Him a Crowd."
National Public Radio. 30 October 2007. [623156]. Accessed 10 February 2008.