Jūkyū

**Jūkyū** [優唱; じゅうきゅう] is a classical form of Kantonese dance-drama. Jūkyū is known for its heavily-stylised performances, the glamourous costumes worn by performers, and for the elaborate make-up worn by some of the actors.

Jūkyū is thought to have originated in the early 15th century as a branch of *hongyū*, eventually becoming more refined and sophisticated due to the work of well-established actors and playwrights to create their own 'glamourised' form of theatre. Unlike the other forms of stage performance which before it, jūkyū was only to be performed by male actors as women's performances were deemed 'too erotic' and were promoting prostitution. Notably, by the 1600s young and desirable male actors were being hired as sex workers (see *ōrei*), but this did not diminish the public's view of jūkyū overall.

## History

### Early history (1400s-1500s)

Much of the appeal of jūkyū in this era was due to the ribald, suggestive themes which featured in many plays. Descended from the rustic peasant art of hongyū, it carried the same kind of informality and lack of refinement; this appeal was further exacerbated by the fact that most actors were involved in prostitution. For this reason, jūkyū was known as henkyū ('lewd theatre') colloquially. It did not gain its moniker of 優唱, meaning 'refined theatre', until the early 1600s.

Jūkyū became a common form of entertainment in the red-light districts of Kanton, especially in Kabanko, the registed red-light district of Kaimon. The widespread appeal of jūkyū often meant that a diverse crowd of different social classes gathered to watch performances, a unique occurrence. Jūkyū theatres became known as a place to both see and be seen in terms of fashion and style, as the audience - commonly comprising of socially low-ranking but wealthy merchants - would often use jūkyū as a way to scout, show off, and discuss contemporary trends. Jūkyū theatres, known as kyūban until the 17th century, also featured performances of hongyū and gīkyū.

As an art form, jūkyū provided many new forms of entertainment, featuring new musical styles played on the gosen, clothes and fashion often dramatic in appearance, famous actors, and stories typically intended to satirise current events. Going to see a play was the perfect opportunity to mix and mingle, especially for the merchant class who valued informal discussion and more relaxed social rules. The old expression *kyūfuki no keishi* ('meeting at a jūkyū play') described a meeting of two people which was exciting, stimulating, but ultimately ended in nothing as they both left the theatre at the end of the play and never saw each other again.

Performances typically lasted from late afternoon until sunset, with surrounding teahouses providing meals, refreshments and places to socialise. The areas surrounding kyūban also featured a number of shops selling theatre-related souvenirs, such as autographs, snippings of an actor's hair or clothing, and themed trinkets, jewellery and accessories.

Despite its popularity, the Sadama administration held unfavourable views of jūkyū as a whole. The mixed-class crowds at a jūkyū performance, and the social peacocking of the merchant classes, who controlled much of Kanton's economy at the time, were perceived to infringe on the standing of the wealthy aristocrats and military class, both in appearance and often wealth. Furthermore, the pervasiveness prostitution throughout theatre culture was highly problematic to the somewhat puritanical Sadama kunjō. In an effort to clamp down on the popularity of jūkyū (and other performing arts, notably hongyū), women's jūkyū, known as yakyū, was banned in 1534 for being too erotic. Following this ban, young boys began performing in female roles, along with adult male actors, leading to a sharp increase in male prostitution from the mid-1500s onwards.

### 1550s - early 1600s: the rise of tōkyū

During the period between the mid-16th century and the early 1600s, the version of jūkyū we know now was established, known as tōkyū, meaning 'men's theatre'. Cross-dressing actors, known as *naguya*, took over previously female-acted roles; these actors were often young adolescents aged 16-19. Although many naguya were known to refuse participating in sex work, many essentially led double lives. If he was performing on the stage, he was a naguya; if he was socialising with merchants and offering sexual favours after the performance, he was an *ōrei*.

The focus of jūkyū performances also increasingly began to emphasise style, sophistication and elegance, with drama and stage techniques being put before dance. However, the ribald and informal culture associated with jūkyū continued, with male actors engaging in sex work habitually, and many viewers becoming patrons of their personal favourites. This unique social sphere was known as *kugunzō* ('world under the stage'), and also existed with other forms of theatre art. Once the serving of alcohol inside theatres was banned in 1601, audiences began sneaking in beverages, which eventually resulted in the creation of a ritual known as *zanshaki*, during which the most popular actor would be splashed with alcohol as he left the stage, partly for comedic effect, and partly as a way of celebrating his performance.

### 1600s-1700s: the rise of jūkyū

During the Monjō period, jūkyū thrived, with the structure of performances and plays formalising and being standardised to an almost unrecognisable extent. Many other elements, such as the creation of stock characters, set phrases, and the inclusion of gīkyū segments in some shows, led to what had previously been known as henkyū or tōkyū now becoming known as jūkyū. This new style of theatre set itself apart from more informal types such as hongyū, and it was soon understood that only the most prestigious and talented actors could participate in jūkyū performances.

The famous 17th-century playwright Danzori no Hotei (柏森の保定), one of the first professional jūkyū playwrights, produced several influential works during this time. The piece usually acknowledged as his most significant, The Love Suicides at Kumako (筈壮の愛殺, Kumako no Airai), was immensely popular during the 1710s and was reportedly responsible for inspiring a number of real-life 'copycat' suicides throughout the nation.

Also during the Monjō period was the development of the mask-like make-up (*nagaru*) worn by actors in some jūkyū plays.

In the mid-1700s, jūkyū fell out of a favour for a time, with hongyū plays becoming more popular as Kanton underwent an upheaval of previous repressive social rules, and formality, elegance and refinement became unfashionable. Little of note would occur in the further development of jūkyū until the end of the century, when it began to reemerge in popularity.

## Elements

### Stage design

The jūkyū stage features a five-metre projection called a *zannen*, a walkway which extends into the audience and via which dramatic entrances and exits are made. When a character is first introduced into a scene or story, they will enter by the *zannen* and conduct an 'introduction' (*kanero*) during which they will say a line, make a movement or pose in a specific way. This introduction will show the character's nature, whether it is intimidating, meek, arrogant, polite or feminine (female roles have their own specific *kanero* which does not vary). If a character dies or is killed, their death will take place on the *zannen*. Throughout history, the *zannen* (literally, 'booze-way') was a dangerous zone for a popular actor, as those who were particularly famous or attractive would often be doused with alcohol by audience members while exiting the scene.

Jūkyū stages and theatres have become steadily more technologically sophisticated, and innovations including revolving stages and trap doors were introduced in the 18th century. Stages are typically tall, about five feet in height; audiences sit in even taller galleries. There is a large under-stage area (*kugunzō*), which historically has been seen as a highly raucous place; its name was often used as a euphemism for the unsavoury world of theatre. A number of stage tricks are made possible by trapdoors located in the floor of the stage through which stagehands can send up objects, change an actor's clothes, pull them down, or push them up. The revolving of a stage is also made possible by the work of stagehands, who control the mechanism which sets the stage turning. These stagehands are dressed in all black, so as to be 'invisible' if seen, and are called *kuzuke*.

*Seibei* (flying mid-air) is a technique which appeared toward the middle of the 1800s, in which an actor's costume is attached to wires and he is made to 'fly' over the stage or certain parts of the audience. This is similar to wire tricks used in Western pantomime, a famous example being Peter Pan. It is still one of the most popular tricks used in jūkyū today; major theatres are all equipped with seibei installations.

The traditional curtain which shields the stage before the performance and during breaks is coloured a dark green, with red and white stripes - it is known as *kyūku-nura*. It consists of one large piece, about five metres in length, which is pulled back to one side on a rail by *kuzuke* using a lever.