KABUKI

When speaking about Japan’s traditional performing arts, three forms are indispensable: Nō, Kyōgen, and Kabuki.

Each of these arts has a history stretching back several centuries to over a thousand years. They originated from folk performances that existed in Japan long ago, and gradually evolved into uniquely Japanese theatrical traditions while absorbing influences from performing arts that arrived from the Asian continent.

Because most of their stories are based on events from several centuries ago, their themes and expressions can feel distant from modern sensibilities. As a result, their popularity has been somewhat limited over the past fifty years. Even so, each art form has continued to maintain a devoted audience.

Kabuki, in particular, has recently regained attention thanks to the huge success of the 2025 film “KOKUHOU”, which depicts the modern world of Kabuki and the struggles of a young performer striving to rise within it.

Today, Kabuki is attracting a growing number of younger fans, and interest in Nō and Kyōgen is also being renewed.

 

『Nō』
Nō originated from ancient folk dances and festival performances. Its present form was established around 650 years ago during the Muromachi period by the father-and-son performers Kan’ami and Zeami.

Nō is performed on a nearly square stage measuring roughly five metres on each side.

The performance is expressed mainly through dance (mai) and chant (utai), with very little spoken dialogue in the modern theatrical sense. One of the most distinctive features of Nō is the use of the Nō mask, worn by the principal actor.

A Nō play is performed by a small group:

the Shite, the main protagonist,

the Waki, the counterpart or supporting role,

the Kyōgen-gata (Kyogen actors), who provide supplementary narration or roles,

and the Hayashi-gata (musical ensemble), who perform the accompanying music.

Aside from these performers, few others appear on stage, giving Nō its minimalist and refined character.

Most Nō plays are based on legends, myths, or supernatural tales, including ghost stories. Because the themes are ancient and the performance style is highly stylised, it can be difficult for modern audiences to understand without some prior knowledge of the story and conventions of Nō.

 

『Kyōgen』
Kyōgen also traces its origins to ancient folk entertainment and can be considered a “sibling” art to Nō, sharing the same historical roots. Its basic form was likewise established during the Muromachi period.

Although Kyōgen is performed on a stage similar to that of Nō, its style is quite different. Kyōgen relies heavily on spoken dialogue and comic action, and unlike Nō, masks are rarely used.

While Nō often portrays solemn stories drawn from mythology, legends, or the supernatural, Kyōgen focuses on humorous incidents involving ordinary townspeople or, at times, members of the ruling class. It is essentially a form of comedy that depicts everyday life in a playful and exaggerated manner.

Because Kyōgen uses stylised speech patterns, the language differs somewhat from modern Japanese. However, compared with Nō, the stories are generally easier to follow—though having a basic understanding of the plot beforehand is still helpful.

 

『Kabuki』
Kabuki is said to have begun in the early 17th century with the “kabuki odori” dance performances created by a woman named Izumo no Okuni. Japan had just emerged from the turbulent Sengoku period and entered a more peaceful age, and the lively, upward-spirited mood of the time helped her performances spread rapidly among the public.

In its earliest form, Kabuki was primarily a dance-based entertainment, performed mostly by women—just as Okuni herself had done. These performances often included elements of feminine allure, and many shows were staged in pleasure districts.

Kabuki spread explosively across the country, but the sensual nature of the performances and the social problems that arose around them led the shogunate to issue a decree in 1629 banning women from performing in order to maintain public morals.

 

From that point on, Kabuki became an all-male theatre tradition, gradually shifting from dance-centred entertainment to a more dramatic, story-driven form.

As the narrative aspect developed, Kabuki’s audience broadened from mainly men to people of all ages and backgrounds. Local troupes—often made up of performers with little formal training—staged Kabuki in small theatres across Japan, and the art became deeply rooted in regional culture.

Although many early performers came from socially marginalised backgrounds, the establishment of organised troupes and clearer performance systems gradually improved their social standing. Over time, Kabuki was refined and elevated into a sophisticated art form. The portrayal of female characters by male actors, known as onnagata, became one of Kabuki’s most distinctive and highly developed traditions.

 

From the late 17th century to the early 20th century, Kabuki remained at the centre of popular entertainment in Japan, influencing emerging forms of theatre, cinema, and later television drama.

When Japan’s first television broadcast took place on 1 February 1953 (NHK), the very first programme aired was a live Kabuki performance.

 

As films and television became the dominant forms of entertainment, Kabuki’s popularity became more limited. Yet its cultural value continued to rise, and it remains beloved by many fans who appreciate traditional theatre. In recent years, Kabuki has also been performed abroad on numerous occasions.

For visitors and newcomers, Japanese theatres now provide helpful resources such as “Sujigaki” (programme booklets summarising the story) and earphone guides in Japanese and English, making Kabuki more accessible to first-time audiences.

With the spread of the internet, Kabuki can now be enjoyed worldwide through online tutorials and introductory videos.

Japan’s traditional performing arts—Nō, Kyōgen, and Kabuki—each offer a unique window into the country’s cultural heritage.
If they spark your interest, they may open a new page in your understanding of Japan…

 

“A Slightly Off‑Angle Topic”
In the 1980s, a villainous professional wrestler known as “The Great Kabuki” was active in Japan and abroad. His distinctive appearance was inspired by the visual style of Japan’s traditional performing art, Kabuki — but despite the name and the makeup, he actually has no direct connection to classical Kabuki theatre. (^_^;)