Actor\audience

relationship

Because of the proximity of the audience to the stage, and the vaudeville spirit that imbued the early Edo period theatre, it was inevitable that an interplay would develop between the audience and the actors. In many ways, the atmosphere was similar to that of Shakespeare's Globe or 19th century music hall where the overall hubbub would have been spiced with wit and repartee.

To an extent the participation became somewhat formalised and the kakegoe of the o-mukou became very much a part of a performance. The timing of each call of approbation was considered crucial, and assisted an actor when building to a particular dramatic moment. The kakegoe developed a certain elegance of delivery in that rather praising the actor on stage directly, an elliptical reference would be made to his yago, or a predecessor of the same name. The cries were not always laudatory. If an actor executed an action particularly inelegantly he could be greeted by cries of daikon (radish), and particular displeasure might be shown by the front rows of the audience throwing their hanjou on to the stage (hanjou o ireru).

There may be moments in a performance when an actor would come out of his role and address the audience directly (somewhat like our present pantomime when one of the characters might add the score of the current local football match to his dialogue). In the middle of a scene this might happen in order for one performer to welcome another actor back to the city, or to introduce a rising star. More formally, if a visiting actor was performing for the first time, or a young actor had received a promotion, this would be announced between acts with the whole company seated by rank on stage. This koujou would consist of the manager and leading actors thanking the audience for its past patronage, and with heads bowed asking for a continuance of their support.

A typical 17th century audience. The picure shows sajiki, masu and rakandai

The homekotoba was the words of praise offered to the male lead by the onnagata, however it could be the case that this would be offered instead by one of his admirers from the audience. It would appear however that the supporter did not always choose the most expedient moment to do this, and could leave the object of his eulogy stranded mid dialogue! Sometimes clubs of enthusiasts (teuchi renjuu - literally hand clapping groups), dressed identically, would attend the theatre to cheer their particular idol much in the same way that supporters gather at a football match.

At the start of each theatrical season (usually the eleventh month) it became customary to formally introduce the actors who would participate in the year's performances (kaomise). This was a highly ceremonial occasion and would culminate in a welcoming speech from each of the troupe before which the presents he had received from admiring patrons would be listed. The kaomise was extremely popular and had a different form in each of the main centres (Kyoto, Osaka, Edo). The whole ceremony might be repeated over a period of ten days.