Theatre Design

The first performing spaces were no more than raised platforms on a riverbed. As kabuki became more popular rudimentary fences were constructed to give some element of crowd control. It was not until the authorities started to issue performing licences that the opportunity presented itself for more permanent theatre structures. In Kyoto the first licenses were granted in 1617, whereas in Edo, it was not until 1624.

Early kabuki theatre

Because city officials wanted to keep kabuki a simple affair and control its development, they did not allow theatres to be roofed until 1724. This meant that until this time it was impossible to hold a performance if the weather was inclement. The resourceful stage managers had to devise a way to stretch mats across the void constructing makeshift shelters to give some protection from the elements.

Noh theatre

The first developments in stage construction owed much to the Noh theatre. It consisted of a stage area covered by a thatched roof supported at the four corners of the stage. The hashigakari of the Noh theatre (stage right) which led from the dressing rooms to the performing area was widened, lost its handrails, and was extended to become a second performing area (tsuke butai). A similar extension was added on the opposite side. Parts of these areas were sectioned off in order to allow members of the audience to stand and observe the action. The rakandai was the cheapest area of the theatre, and for a time it was given an additional level above the stage (yoshino).

The fences were replaced by a solid wall containing boxes (sajiki) which served the dual purpose of defining the extremities of the theatre, whilst providing a tiered level of seating away from the turmoil of the theatre floor. Eventually there were three rows of sajiki. The lowest were known as the quail boxes (uzura sajiki) as the bars across the opening made them resemble the crates which were used to transport these creatures. Meanwhile, the cheaper seats would be accommodated on the theatre floor where the audience was tightly packed into sections (masu). Ultimately, by 1886 the size of the masu were regulated to a little under 1.5 metres square, and to hold no more than five people! Considering the length of the performances, quite a different experience from that of the people in the sajiki.

Mid Edo period kabuki theatre

By the 18th century the authorities allowed the addition of a roof. This tended to make for cramped performance and audience conditions in dim artificial light, however because the vagaries of the weather were now excluded, it did allow for the development of more elaborate stage additions such as the hanamichi, lifts (suppon), revolving stages (mawari butai), and a whole range of stage effects. The introduction of artificial light, could also be quite hazardous and led to many theatres being burnt down. With the constant rebuilding, their architecture became less standardised. Dressing rooms were added behind the stage area.

An invention unique to kabuki, the hanamichi, enabled the actors to make an entrance along a walkway from the back of the theatre through the audience to stage right. After 1780 some theatres were to add an additional narrower walkway on the opposite side of the stage running parallel to the hanamichi. In this way the play could be taken to the very heart of the audience. The origin of the term hanamichi literally means flower way, but is thought that it evolved from an shorter extension to the stage which was piled with gifts of money or goods also known as hana as each was decorated with a flower branch. It was the extension of this to the back of the theatre which developed into the hanamichi , so the name may originally have referred to a "way of gifts".

The position seven tenths of the way along the hanamichi is considered to be the strongest point, and it is from this position that an actor will make his opening declamation. Any further action that takes place upon the walkway is generally delivered from this same location known as the shichisan.

Replacing the rakandai on stage right, a sound booth was added (geza), whilst movable sections of platforms would eventually provide the staging for the debayashi to the rear, or the chobo stage left. Occasionally the chobo could be placed in a raised room stage left. To the front of this the tsuke player would take his position.

Modern kabuki theatre