Almost every gesticulation is accompanied by music. There are many cases where such symbolization has been carried to the extent of abstraction, so that the formalized action of the character is no longer relevant to or even in direct contact with any rational interpretation of the role. A special technique of kabuki known as mie is perhaps most in keeping with this principle of formalized beauty. This is employed in certain climatic moments or at the close of a classical play by the principal actor who momentarily pauses in a pictorial posture and assumes a stare and crosses his eyes. This unique type of acting is an example of the tendency of kabuki to place maximum emphasis on statuesque beauty.
Formalization is also characteristic of the vocal aspect of kabuki acting.
Even in the essentially realistic domestic play, the principle of speaking is not that of naturalism but of idealized elocution. Thus, lines in the kabuki plays, long monologues in particular, have a fascinating cadence half-way between singing and ordinary conversation. This is even more true, when, as happens often, dialogues and monologues are recited to the accompaniment of music. This renders the coinciding action on the stage even more rhythmic, with movement assuming an appearance more like a modified form of dancing. Color scheme Spectacular beauty constitutes another of the fundamental characteristics of kabuki drama.