page_title: Kabuki
section_title: 1842–1868: Saruwaka-chō kabuki
hierarchical_section_title: Kabuki / History / 1842–1868: Saruwaka-chō kabuki
context_page_description: Kabuki is a classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama, the often-glamorous costumes worn by performers, and for the elaborate kumadori make-up worn by some of its performers.
  Kabuki is considered to have begun in 1603 when Izumo no Okuni formed a female dance troupe to perform dances and light sketches in Kyoto, but developed into an all-male theatrical form after females were banned from kabuki theatre in 1629. This form of theatre was perfected in the late 17th and mid-18th century.
  In 2005, the "Kabuki theatre" was proclaimed by UNESCO as an intangible heritage possessing outstanding universal value. In 2008, it was inscribed in the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.
context_section_description: In the 1840s, repeated periods of drought led to a series of fires affecting Edo, with kabuki theatres - traditionally made of wood - constantly burning down, forcing many to relocate. When the area that housed the Nakamura-za was completely destroyed in 1841, the shōgun refused to allow the theatre to be rebuilt, saying that it was against fire code.
  The shogunate, mostly disapproving of the socialisation and trade that occurred in kabuki theatres between merchants, actors and sex workers, took advantage of the fire crisis in the following year, forcing the Nakamura-za, Ichimura-za and Kawarazaki-za out of the city limits and into Asakusa, a northern suburb of Edo. Actors, stagehands, and others associated with the performances were also forced to move in lieu of the death of their livelihood; despite the move of everyone involved in kabuki performance, and many in the surrounding areas, to the new location of the theatres, the inconvenience of the distance led to a reduction in attendance. These factors, along with strict regulations, pushed much of kabuki "underground" in Edo, with performances changing locations to avoid the authorities.
  The theatres' new location was called Saruwaka-chō, or Saruwaka-machi; the last thirty years of the Tokugawa shogunate's rule is often referred to as the "Saruwaka-machi period", and is well known for having produced some of the most exaggerated kabuki in Japanese history.
  Saruwaka-machi became the new theatre district for the Nakamura-za, Ichimura-za and Kawarazaki-za theatres. The district was located on the main street of Asakusa, which ran through the middle of the small city. The street was renamed after Saruwaka Kanzaburo, who initiated Edo kabuki in the Nakamura-za in 1624.
  European artists began noticing Japanese theatrical performances and artwork, and many artists, such as Claude Monet, were inspired by Japanese woodblock prints. This Western interest prompted Japanese artists to increase their depictions of daily life, including the depiction of theatres, brothels, main streets and so on. One artist, Utagawa Hiroshige, produced a series of prints based on Saruwaka from the Saruwaka-machi period in Asakusa.
  Despite the revival of kabuki in another location, the relocation diminished the tradition's most abundant inspirations for costuming, make-up, and storylines. Ichikawa Kodanji IV, considered one of the most active and successful actors during the Saruwaka-machi period. Deemed unattractive, he mainly performed buyō, or dancing, in dramas written by Kawatake Mokuami, who also wrote during the Meiji era to follow. Kawatake Mokuami commonly wrote plays that depicted the common lives of the people of Edo. He introduced shichigo-cho (seven-and-five syllable meter) dialogue and music such as kiyomoto. His kabuki performances became quite popular once the Saruwaka-machi period ended and theatre returned to Edo; many of his works are still performed.
  In 1868, the Tokugawa ceased to exist, with the restoration of the Emperor. Emperor Meiji was restored to power and moved from Kyoto to the new capital of Edo, or Tokyo, beginning the Meiji period. Kabuki once again returned to the pleasure quarters of Edo, and throughout the Meiji period became increasingly more radical, as modern styles of kabuki plays and performances emerged. Playwrights experimented with the introduction of new genres to kabuki, and introduced twists on traditional stories.
caption: Brooklyn Museum – Kabuki Scene (Diptych) – Hokushu
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