Kabuki

by Zoë Kincaid

As for Yamamura Chodayu, Ikushima Shingoro, and Nakamura Seigoro, they, too, were exiled—even Iwai Hanshiro, the most popular onnagata of the period, sharing in the banishment. The Yamamura-za was first deprived of its licence, then the building was demolished and the property confiscated by the Government. Such was the end of the Yamamura-za, for it never dared to raise its head again among the Yedo shibai.

At the same time the theatre censors drew their net of regulations closer and closer. Yedo shibai, unlike those of Osaka and Kyoto, had previous to the Yenoshima affair two galleries, making three stories, but the authorities reduced them to one. Thin bamboo blinds had been suspended from the galleries as a protection for high-class playgoers that they might be removed from the vulgar gaze, but these were ordered to be taken down. This meant that persons of good family could no longer attend the theatre. Passage-ways from the theatre to the homes of the proprietors were taken away, special rooms for banqueting at the tea-houses were given up. Even the roofs of the theatres, that had been constructed in a more substantial way to protect playgoers against the elements, were ordered to be made in a lighter fashion. When alterations were desired in the construction of theatres or tea-houses, report had to be made first to the officials before permission to proceed could be obtained. The theatre was closed early, and no plays allowed to run after sunset.

Such were some of the shibai regulations that came about as the result of the Lady Yenoshima’s indiscretions.

Stage costumes especially came under the merciless scrutiny of the authorities. Special restrictions were made in 1789. All costumes were examined on the day preceding the performance. Officials were appointed whose duty it became to examine stage affairs to the minutest detail, and after they had peered into all the nooks and corners behind the stage, they gave permission for the play to be performed, or interfered sadly with the arrangements, by demanding alterations at the last moment, according to their whim, or from some idea of the proper respect due to their dignity. If there were any changes in the plays after the inspection, the offenders were summoned to appear at the censor’s office and were fined or reprimanded.

Many devices were resorted to by the yakusha to protect their beautiful kimono that they often designed themselves and as frequently embroidered with their own hands. Sometimes the better to pass the officials’ inspection they sewed pieces of plain material over the decorated portions of their costumes, but if a report of fine raiment reached the ears of the ever-watchful ones, reprimands were in order.

As a means to put down extravagance, it was ordered that the actors’ salaries should be reduced by half. But the yakusha generally found ways and means to evade this attempt against his income. Requests were made to the officials by the management that an actor wished more salary, and if this was refused he remained away from the theatre under pretence of illness. The plays could not go on without the drawing attraction of the popular actors, and there came a time when the troubled managers asked the officials how the shibai could be maintained under such circumstances. The fourth Nakamura Utayemon was fined for receiving too much salary. Nakamura Nakazo records in his journal how his theatre could not make the customary advance on his salary and he received a short sword by way of compensation.

When an onnagata, Segawa Kikunojo, was returning home from the theatre one day in the year 1789, he wore an attractive kimono made of good silk crepe, and his clothing was confiscated. Onoe Matsusuke, when taking the rôle of a Court lady, wore a beautiful over-garment tied with silver cords, and was reprimanded for extravagance. The third Nakamura Utayemon was responsible for a costly curtain used during one of his performances, and he was taken to task by the officials, with the result that he became disgusted and decided to return to the Osaka stage. As he had made an agreement with the Yedo theatre for a term of two years and he had remained but one, the authorities brought him back to serve out his contract.

A gay performance was given at the Nakamura-za in 1791, and the stage properties were confiscated. Ichikawa Yaozo made a gift of one hundred and ten kimono to the people of the theatre, and when this raised the ire of the economy-loving officials Yaozo is reported to have said: “My father Yaozo left 100 ryo to be used in accordance with his will. I gave the kimono as he wished.”

At the Ichimura-za a robber was depicted selling the treasures of a daimyo, and the authorities stopped it because it related to a feudal lord. When a festival was held at the Ichimura-za in memory of the Soga Brothers, the heroes of many a Kabuki piece, the theatre people wore conspicuous kimono, and displayed a great many lanterns for decorations. Since it was something out of the ordinary, they were all fined.

Once, when the play required the interior of an Imperial Palace, very beautiful stage furniture was used, but this came under the ban, and inferior articles were ordered to replace the originals.