From grey dilapidated temples where apparitions make their appearance, or the nobility partaking of ceremonial tea in some landscape garden, the Kabuki craftsman passes to the fashioning of a red pagoda, the under-eaves showing many brilliant colours. He places two stories of the structure in a snowy scene. Warrior-priests in grey with white head coverings rush on the scene armed with long spears. An old dignitary wearing gold armour, over which there is a thin, black, priest’s robe, stands at one side with a torch in his hand. Another figure, in silver brocade and white, poses on the steps leading to the pagoda. The hero in armour—red, green, and gold—appears on the upper gallery. Then ensues a big fight in the whirling snow, the deep boom of a temple bell sounding through the fray.
The revolving stage that plays such an important part in the scenery of Kabuki has a complicated technique of its own. It allows of three, and sometimes four sets of scenes, that may be in the course of preparation while the actors are engaged in front. But as a general rule the carpenters are busy with but one full set, while the play proceeds.
For an extension of the stage picture, the stage is turned to right and left, or revolves half way for some new scene. In addition to the surprises in store for the playgoer in the changes effected by the revolving stage, there are the strange appearances of characters forced up through a large opening in the floor of the stage, like groups of statuary, and devices for the sudden disappearance of characters through walls and steps, the elaborate apparatus for ghosts that emerge through lanterns or vanish into thin air, and for chunori, or air-riding feats, when a character suspended in mid-air moves across the stage.
The kodogu, or small properties of Kabuki, are a study in themselves,—the lantern in all its shapes and sizes, the oil-paper umbrella, vases, and hanging pictures. The articles in use are not made to look beautiful at a distance, but are genuinely so: tall candle-sticks in brass or lacquer, chests, sword-rests, cups, swords, helmets, lacquered tables, tobacco-boxes, bronze utensils for a temple altar, or Buddhist images, they all represent the arts and crafts of the country.
Keen to adopt and adapt new things, Kabuki is now sensitive to European stage influences, and with a characteristic lack of confidence in its own creations, appears to be opening the door too wide in welcoming the ideas of the West.
The thought can hardly be avoided, however, that the achievements of the Kabuki craftsmen are a contribution to the world’s theatre. But what the place and value of their work in comparison with the stage of the West remain for the judgement of the future.
Crest of Onoe Kikugoro
(Two fans).
Crest of Onoe Tamizo
(Stork and plum combined).