Glossary 
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Glossary |
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| agemaku | Curtain at the entrance on to the Hana michi |
| aragoto | Robust style of acting developed by Danjuro I in 1673 (more) |
| ateburi | A style of dance where the performer mimes closely relates his movements to the individual words or phrases of the text sung by the chanter (more) |
| awase | Winter kimono |
| bachi | The large hand held plectrum used by a shamisen player |
| biwa | A type of lute originating in the 13th century, and used to accompany extended narrative. |
| bokashi | Shading technique used when applying kumadori |
| bugaku | Japanese court dances dating from the Heian period |
| bunraku | One of the styles of Japanese puppet theatre dating from the beginning of the Edo period. The name came to be used as a generic title for all puppet theatre. |
| butaiban | The stage guards (bouncers) who helped to quell over excited patrons |
| Chikamatsu Monzaemon | (1653 - 1724) Japan's most famous playwright of both puppet and kabuki plays |
| chirashi | Start of the final section of kabuki dance form leading to the short dangire (coda). Can contain smaller contrasting sections or interludes. Purpose is to move the music away from the main dance section to the finale |
| chobo | An ensemble consisting of singer and shamisen player which performs the gidayu style of joururi narrative music (more) |
| chounin | The Edo period merchant class |
| Chushingura | A famous kabuki and puppet play based on the "Ako" vendeatta which culminated in the 47 rounin commiting mass seppuku (more) |
| dan | Sectional division of a piece or melody |
| dangire | Final short section of kabuki dance form. Coda |
| dango o kuu | "Eating your dumplings". Stage fright |
| danmari | An early form of kabuki (more) |
| debayashi | Large group of musicians at the rear of the stage (more) |
| deshi | Apprentice |
| Edo Period | 1615- 1868 (a.n.a. Tokugawa Era) A period of complete isolation from contact with countries outside of Japan during which the civil strife of the Momoyama Period came to an end to be replaced by a systematic control of all areas of society. (more) |
| fundoshi | Loincloth |
| fushi mawashi | The subtleties and shading added to a vocal line by a singer |
| gakuya | Dressing room, green room |
| Genji Monogatari | Most famous literary product of the Heian period. Written by Lady Murasaki it is a combination of both romance, music and poetry |
| Genroku Period | 1688 - 1704. A particularly prolific period of development of the kabuki tradition |
| geza | Hidden music room stage right (more) |
| gidayu | Joururi narrative singing style perfromed by chanter and shamisen and used primarily in the puppet theatre. It took its name from the singer Takemoto Gidayuu (1651-1714) |
| habutae | Cap worn under a wig |
| hakama | Divided skirt (similar to culottes) worn by a samurai |
| hanamichi | The walkway running from the rear of the theatre, through the audience to the stage |
| hanjou | A seating mat hired by the audience |
| haori | Coat worn with winter kimono (awase) |
| hashigakari | The bridge in a Noh theatre which allows the actors to pass from the rear of the theatre to the main performance area |
| hayashi | Ensemble of three drums (o-tsuzumi, ko, tsuzumi, taiko) and flute originally used in the noh theatre (more) |
| hayashi gashira | The person who organises the music for the geza |
| Heian Period | A.D. 794 - 1185. The period in which Chinese influences were assimilated and modified into a more homogenous Japanese culture |
| Heike Monogatari | Legends of the conflict that took place between the Heike and Genji clans that ended in the defeat of the Heike at the end of the Heian period. They became the main subject upon which the music of the blind biwa players was based |
| hengemono | A style of nagauta consisting of a series of dances each in a different mood, provoking the need for changes of costume (more) |
| honrai | Music which originated in Kabuki |
| hongyou | Music which originated in Noh |
| hyoushigi | (a.n.a. "ki") Clappers use to warn of imminent action throughout a kabuki play (more) |
| iemoto | Grand master, head of kabuki school or family |
| ishou | Kabuki costume |
| jidai | Period or era, particularly when related to Japanese history. See jidaimono. |
| jidaimono | A type of kabuki drama based upon historical subject matter (more) |
| joururi | A style of narrative with shamisen accompaniment originating in the 15th century that developed into the narrative tradition integral to both Kabuki and puppet plays. It takes its name from the popular 15th century romance "Joururi-hime Monogatari Juunidan Zoushi" (The Tale of Princess Lapis Lazuli in twelve Sections) (more) |
| juban | Undershirt |
| juuhachiban | A collection of 18 plays associated with the Ichikawa Danjuro line of actors and containing much of the aragato style of acting |
| juuichicho | A series of soft widely spaced but gradually accelerating clacks (eleven in all) from the kiwhich continues until the curtain is ready to open |
| kakeai | Mixture of musical genres within the same play |
| kakegoe | A range of shouts from the musicians or from the audience. In the case of the musicians the range of different calls are an integral part of the music and aid timing. With the audience, they are cries of encouragement, or appreciation of particularly elegant acting. (more) |
| kakuon | A tonal focus within a Japanese musical scale (onkai). Similar to the Western "tonic. more |
| Kamakura Period | 1185 - 1333. The period spent under the military dictatorship of Yoritomo. During this time the court was in Kyoto, whilst the headquarters of the military were in Kamakura |
| kamishimo | The costume used most frequently in kabuki. It consists of a wide shouldered shawl (kataginu) over a set of wide overtrousers (hakama). both are worn over an outer kimono (kitsuke) |
| kamite | Upstage (stage left) |
| kanbu | Leading actor from an important lineage |
| kaomise | Debut, first appearance on stage |
| kashira | A cadential pattern performed by the taiko which involves a dramatic use of the sticks (more) |
| kata | The term used to describe a fixed form or pattern of performance. This can be applied to the different facets of all the elements which go to make up a performance (more) |
| katarimono | An early form of narrative shamisen music |
| keiyouzerifu | A style of poetic metre which sustains a syllabic pattern of 7-5 |
| keren | Special effects, stage tricks and the art of acrobatic acting |
| ki o naosu | Two very loud clacks from the kiwhich occur after the juuichichoand signal the curtain to be opened |
| ki | (a.n.a. hyoushigi) Clappers use to warn of imminent action throughout a kabuki play (more) |
| kiyari | Traditional work song |
| kizami | "Continuous pattern" of the ki that starts with slow loud clacks and accelerates and tapers to nothing. It accompanies the drawing of the curtain |
| kiyomoto | A style of joururi performed by chanter and shamisenwhich produces a stronger impression of pure singing than the other types. It relies upon a high pitched nasal, almost feminine style of vocal production. It was created by the pefomer Kiyomoto Enjudyuu who created the style in 1814 and developed an abundance of non-theatrical styles |
| kodougu | Stage props |
| kokyuu | Japan's only bowed instrument |
| koto | A type of zither |
| koujou | A special announcement ceremony |
| kouken | Stage assistant, prompter |
| koshi o ireru | Samurai stance. Comes from posture assumed when working in the fields. |
| ko-tsuzumi | Small hour glass drum played on the shoulder (more) |
| kuchi-jamisen | A system of mnemonics used in shamisen instruction as aid to remembering melodies (more) |
| kudoki | Third section of kabuki dance form. Softer, more feminine. Drums are not used within this section. |
| kumadori | A style of make-up (more) |
| kyougen | Noh farce |
| mae | A short introductory section before the main odoriji |
| maebiki | Short instrumental introduction to a piece of nagauta. |
| mage | Topknot - hairstyle |
| mai | Noh dance |
| maruhon | A style of kabuki developed from the mannerisms of the puppets in puppet theatre (more) |
| masu | The wooden partitions on the floor of the theatre in which the audience would sit. At their smallest they were 1 metre square and would accomodate 4 people! |
| matsumushi | A small bowl gong on three legs used in the geza. Literally "pine insect" |
| matsuri bayashi | Festival percussion music |
| Meiji Period | 1868 - 1912. Period during which the restrictions of the Edo period were abandoned and Japan became subject to foreign influences, particularly Western culture. |
| michiyuki | Second section of kabuki dance form. Accompanies the main actor's entrance along the hanamichi towards the main stage. Most of the dance or posturing (shosa) is done at the point 7/10ths of the way (shichisan) along the walkway. |
| mie | A moment of high emotion culminating in an extreme dramatic pose.The literal meaning of the Japanese characters is "see-do" (more) |
| minyou onkai | One of the scales used in Japanese art music (more) |
| miyako bushi onkai | One of the scales used in Japanese art music (more) |
| Momoyama Period | 1534 -1615. Last part of the Muromachi period. Appearance of new forms of entertainment. The arrival of the shamisen in Japan |
| monogatari | Sometimes the fourth section of kabuki dance form. Can been spoken by the actors to a musical accompaniment, or pantomimed whilst the musicians declaim the text. |
| Muromachi Period | 1333 - 1615. (a.n.a. Ashikaga Period) A time of great discontent and instability in Japan filled with civil strife. |
| nagauta | One of the principle musical forms in kabuki. This sectionalised piece can be used to accompany dance, recount action or set a general mood (more) |
| Nara Period | A.D. 553-794. The first major period in Japanese history |
| naraku | Hell. The name given to the area below the stage and the hanamichi |
| nembutsu odori | A type of Buddhist temple dance created in the tenth century |
| nichou | A loud double clack from the ki ten to fifteen minutes before the start of the play. It precedes the juuichicho |
| ningyou zukai | Bunraku puppet handling |
| Noh | Style of drama developed in the 8th and 9th centuries for the entertainment of the aristocracy |
| nohkan | Flute from the noh theatre hayashi ensemble (more) |
| odoriji | Fourth or fifth section of kabuki dance form. Centre of kabuki dance form (comparable to the kuse or mae of Noh, or the odori of joururi) and sometimes called the taikoji because of the use of the taiko; Can be preceeded by a short section called the mae (lit. before) |
| o-daiko | Large stick drum used in the geza which originally was used to announce the start of a play from the yagura (more) |
| oki (okiuta) | First section in kabuki dance form. Introductory and reflective in nature. Prepares audience for entrance of main actor. Either describes the character or sets the scene. Music is usually related to the mood of the composition. Occasionally it can reflect the style from which it is derived (e.g. noh) |
| Okuni | The early 17th century temple dancer to whom the icreation of the first kabuki is attributed |
| oudougu | Stage sets |
| odori | Kabuki dance |
| o-mukou | Male members of the audience who shout out approval (kakegoe) during the performance. They take their name from the area of seating to the rear of the floor of the theatre. The seats were cheaper but at the greatest distance from the stage. |
| o-nadai | Rank of fully qualified actor |
| onnagata | Female role played by a male. Literally "female person" |
| oshiguma | Cloth pressed on to the actors face at the end of a performance to take the imprint of his makeup |
| o-tsuzumi | Larger hour glass drum played on the shoulder (more) |
| ougi | The name for the large variety of fans important in all forms of Japanese theatre and dance, and one of the most important props in kabuki |
| o-zatsuma te | A set of pre set patterns for the shamisen which are used to construct melodic lines (more) |
| o-zashiki | A style of concert nagauta that emerged in the 19th century which is not allied to kabuki dance |
| rakandai | An area on either side of the early Edo period kabuki stage partitioned off for the audience to stand |
| rakugo | Comic story telling |
| roppo | An exaggerated style of exit along the hanamichi made by the principal character (more) |
| sajiki | Theatre box seats |
| sake | Rice wine |
| sato kagura | Regional Shinto shrine music |
| sawari | A characteristic "buzzing" tone originating from the biwa which was later adopted into shamisen technique |
| seiza | Special kneeling position often assumed by actors during the play |
| senryou | Star actor (literally 1000 gold pieces) |
| seppuku | Ritual self-disembowelment. In this way samurai were able to atone for their misdeeds in an honourable fashion |
| sewamono | Play relating to everyday life in the Edo period (more) |
| shakuhachi | An end blown flute |
| shamisen | Three stringed banjo like instrument (more) |
| shichisan | Literally "7 - 3". The point 7/10ths of the way along the hanamichi which acts as a "power point" where most of the non stage based acting or dancing takes place |
| shimai | Noh song and dance |
| shimote | Downstage (stage right) |
| shinjuu | Double suicide |
| shosagoto | Dance drama containing much posturing (more) |
| shoumen engi | The style of delivery found throughout kabuki where even in intimate scenes the actors face straight out to the audience |
| shouzoku | Noh Costume |
| suppon | Lift raising performers on to hanamichi |
| suriashi | A form of walking by shuffling one's feet. Developed from wearing geta or zöri |
| tabi | Type of sock with a split between the toes to enable wearing of sandals (zöri) |
| tachimawari | Highly choreographed fight scene (more) |
| taiko | Barrel drum played with two sticks (bachi) (more) |
| takebue | Bamboo flute (more) |
| tenegui | A hand towel used for a wide range of purposes including the creation of idiosyncratic head pieces |
| tokiwazu | A style of joururi more sprightly and lyrical than gidayuu and closer to song than narrative. The musicians who perform tokiwazu are usually dressed in persimmon coloured kamishimo, usually two chanters and three shamisen players |
| tomegi | An double clack from the kiwhich is used occasionally, and signifies the stopping of a particular section of music or action |
| tsuke | Wooden clappers beaten on a board to emphasize dramatic moments on stage (more) |
| tsukechou | A book outlining the order of the music and its patterns for the geza musicians |
| utagakari | Although not mentioned as part of the classic "kabuki dance" nagauta it serves as a link between the "virile" michiyuki and "romantic" kudoki |
| uwajoushi | The doubling of the melody an octave higher by the uwajoushi shamisen |
| wagoto | Gentle style of acting developed by Sakata Tojuro I during the Genroku period. In complete contrast to the aragoto style (more) |
| wakashu (kabuki) | "Young men's" kabuki. Supplanted the original form of kabuki which used women actors. |
| yago | The system grouping actors into "guilds"or families. The name was taken from the attempt by the actors to gain some social standing in the community. A possible derivation is from the souvenir shops surrounding the theatre in which the actors had a concern (Ya- is added to an item to delineate a shop e.g. hon-ya - book shop |
| yagura | Tower over the entrance to the theatre |
| yakuharai | A 7-5 arrangement of syllables set to music |
| yakusha | Actor |
| yarou (kabuki) | The "mature male" style of kabuki which survived when the wakashu style was outlawed |
| zouri | Type of sandal with thong between the toes |
The Kabuki Story | Anatomy of Kabuki
© Michael Spencer 1999