Sengoku Horizon

Look towards the Horizon

The Warring States Period: Fierce warlords fought for control of Japan, and many would perish. When a warrior falls, where does the passion they once held go? Possibly into something dear such as a favorite weapon or heirloom. These heirlooms have been labeled as “relics”, and those that carry them are labeled as “Scions." Recently more and more of these special relics have been activating, signaling the start of a great change as ancient power meets the modern world!

Now For The Local News, 02/17/2018 The Chinese delegation have now arrived at the city of Edo. They have come to learn more about the state of Japan, the Shogunate, and it's Scions. We will be having a Lunar New Year's celebration, a school dance, and a combat tournament with them!

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 Kabuki 101
Nobuyumi
 Posted: Nov 21 2017, 04:05 PM
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MUSIC I HERE

The three would hear the kabuki music long before they arrived to the third floor class room. It was the sound of wood flutes and shamisens. It was certainly dramatic and one had to wonder if a play was going on in the room at this very moment.

As the students entered they would see Kono-sensei sitting on her legs holding a fan as the music played behind her. She had on beautiful kabuki makeup. As a flute hit a loud note she suddenly pointed the fan directly at the three students.

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"SIT!" she shouted in a dramatic voice, before pointing the fan at three prepared cushions on the floor in front of her. The third floor rooms at the top of the school all felt like small, intimate tea rooms. Though that was because these rooms usually got used by staff holding meetings, and very small lesson and mission planning.

"Whhaattttt, do you all know, about KABUKI!" she said dramatically. As she said it she raised the fan in the air to her right. The fan was beautiful and golden. it reflect the light in the room creating a dramatic burst of light before she gazed at them all.

Fairy
Suzu
Kitsu

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Azai Nobuyori
The stuck up clan lord who defends the people.

Tagami Yumiko
The adorable poet girl who hates war.

Katayama, Masato
A strategist bent on changing the world.
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Kitsu
 Posted: Nov 22 2017, 11:49 AM
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Osore was tapping his cane around as he walked in, finding his way using mainly the music of the Kabuki theater to ensure he was in the right place. Osore would in fact NOT see the instructor sitting in the room, but would assume that the person who was playing the instrument was indeed her.

As he made his way into the room, he bowed in the assumed direction of the instructor, though was slightly off from the proper direction. He kept his eyes closed out of habit, and moved a bit farther into the room before hearing the command to sit. He waved his cane around and hit nothing, no desks, no prepared cushions, no chairs...he panicked a small amount and sat down on the floor facing some random direction, unaware of his position in the room, or the position of the other students.

The question was then, what do they know about the art of kabuki, and Osore thought for a moment. As a priest's son, he was taught a bit about how to play the biwa, which was an instrument sometimes used in kabuki. He also knew a few stories from the past that, when told with the right flare, could be passed for potentially a kabuki storytelling. "I suppose I know how to play an instrument to a small degree, and I can do storytelling...," he sounded very unsure of himself while explaining any of this.

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Suzu
 Posted: Nov 23 2017, 07:01 AM
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Inori was probably the sort of person who could get excited about anything. When it was a class on something out of the ordinary for her, it was especially easy. Hearing there'd be an intro class on kabuki at her school had gotten her imagination going into overdrive. She'd seen a couple of performances with her family during trips, and knew how lively and exciting it could be. All of those elaborate costumes and makeup, the stylized way of speaking and movement.. it was pretty neat! Just imagining herself on stage in an awesome outfit getting to puff her chest out and proclaim herself to be a great warrior or something had been motivation enough.

Now that the day had come Inori had hurried from the kyudo range to the class itself. This meant she had her kyudo uniform on; changing into her regular Bugei uniform would've taken too long for her excitement to bear. So many things needed clearing up about kabuki for her. Like who could actually perform in it? Where were the best theaters? Were kids in their position allowed to indulge in stuff like that? She nearly burst through the door before slowing down and entered in a mostly dignified manner. Aunt Suzume would've been displeased if she acted too boisterously. That flute music was pretty nice.. and whoa, Kono-sensei was looking neat! Inori took her seat in the front row and had a big grin on her face that did nothing to hide the excitement she felt for the class. As soon as they were questioned she threw up her hand even though it was likely unnecessary to do so.

"Oh! Oh! It's got really lively music and super neat costumes the actors wear! Also, I heard that the cast is traditionally only guys in all the roles, is that true?" she responded with all the enthusiasm her expression suggested.

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Nobuyumi
 Posted: Nov 30 2017, 09:40 PM
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As the teacher dramatically asked the students what they knew of Kabuki two of the three answered, with the third student being a bit too intimidated and taken back by the dramatic start of the class to speak.
"I suppose I know how to play an instrument to a small degree, and I can do storytelling...," said Osore. With Inori adding
"Oh! Oh! It's got really lively music and super neat costumes the actors wear! Also, I heard that the cast is traditionally only guys in all the roles, is that true?" in response Kono-sensei gave out a fierce yell before throwing her hands up and jumping three space to the left on one foot. A traditional dramatic dance action in Kabuki.

"MR. AOYAMA I ASKED WHAT YOU KNEW ABOUT KABUKI, NOT HOW WELL YOU CAN DO IT YOURSELF! MS. TODO, YES! KABUKI, MALE OR FEMALE, IS SUPPOSE TO BE ONLY MEN!" she yelled.
"EVEN NOW I AM BREAKING TABOO! BUT AS THE HEAD ARTS TEACHER AT THE SCHOOL I DO THIS ONLY OUT OF RESPECT FOR ALL THE GREAT KABUKI MASTERS! BOW!" she said and quickly gave a deep bow to the far wall away from the students, as though showing respect to the very ghosts of Kabuki itself. After this she sat down with the students and passed around a sign in sheet.

"Now then. As you can all guess this is an informal extra class. Thus why we had only three sign up spots. I just want to take a minute to politely talk about Kabuki, and if you could please sign the sign in sheet. Ms. Todo you may have to do it for Mr. Aoyama there if you don't mind." and with that she decided best not to hand out any papers but instead keep the class purely in the realm of voices and sounds.

"Now, Kabuki is a lot like noh theater. However, While Noh has darker, quieter, more subtle themes Kabuki is bright, colorful, and loud. Kabuki takes dramatic tales and makes them larger than life. While it can also express sad tales we won't be focusing on that today. I want to give you all a sense of Kabuki as one of the highest possible forms of self expression. Hence the music and loud voice. Now, have any of you seen any or heard of any Kabuki plays? Can you name any off top of your heard? When you hear Kabuki what pops into your mind? Who you think have Kabuki?"

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Suzu
Kitsu

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Azai Nobuyori
The stuck up clan lord who defends the people.

Tagami Yumiko
The adorable poet girl who hates war.

Katayama, Masato
A strategist bent on changing the world.
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Kitsu
 Posted: Dec 10 2017, 09:55 PM
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Osore made a point to take the paper and sloppily sign his name somewhere on it, and then displayed a proud smile on his face. He was repremanded for thinking that this class would be about participating in a Kabuki rather than simply speaking about one. He never knew any of the names of any of the kabuki, banraku, or other theater performances he had ever 'seen', but he knew that he had been to them before. He admired the music of it, and the stories that were told. It's what made him more interested in the musical side of being a priest.

He stayed quiet though, thinking how he must have already talked about something incorrect, he refused to be the next one to say something incorrect again. He assumed that since he didn't know the song titles, he would be yell-sung at again by the instructor. He just shook his head.

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Suzu
 Posted: Dec 13 2017, 06:35 AM
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"Right-o, sensei!" Inori had responded when she'd been asked to sign in for their most silent classmate. The inherent energy their teacher had brought to this lesson was positively infectious! It didn't usually take very much to get Inori worked up about something and this was no exception. Of course her mind did begin to wonder at a few things about kabuki once her assumption that it was usually performed by men was confirmed. Obviously there had to be a reason why it was strictly an all-dude affair even when there were female parts to play. For the life of her she couldn't imagine why that would ever be the case for a type of theater.

They were thrown a few more questions about the art form which also got the brunette thinking. She did indeed sign in for both herself and the third student, assuming he was too overwhelmed by everything to go through such formality. So if this were to get a sense of kabuki and its self expression she wondered if they might still get a shot at trying something kabuki-related. Even learning the movements would be pretty neat, though she also started to wonder how their teacher had learned it herself. After all if guys were the only people allowed to perform normally, where would a woman have learned?

"Oh, let's see.. I don't remember the title, but my family went to see one once! It was about these five thieves who were gonna extort a kimono shop, but then turned into good guys. I think! I remember them all speaking in kind of fancy language too," she explained when it seemed no one else was about to, "What else? There are different kinds of face paint for different characters and different types of characters.. and the tickets can get really expensive for famous troupes. When I hear kabuki, though, I always think that my brother would be really good at the f... um.. acting. The acting."

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Nobuyumi
 Posted: Dec 16 2017, 01:28 PM
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As Osore chose to be quiet and Inori gave an answer the rather expressive teacher suddenly pulled out face paint.
"YO!" she yelled, with hand out and her open palm pointed at the students as she jumped three time on one foot towards them. Opening the paint kit the students would barely understand what was happening as she put her brush near the student who had remained quiet the whole time.
"KUMADORI!" she shouted in dramatic fashion.
"THE ART OF FACE PAINTING!" she then proceeded to give the third, quiet student a face full of white paint.
"White painted face, bright red lines, and striking black eyebrows! A Samurai!" she said before moving to Osore. She described what she was doing as she did it, so Osore would not be bothered.
"A grayish white face, with black lines, two large circles above the eyebrows, black around the mouth, and black around the eyes. An evil aristocrat!" she declared before finally moving to Inori.
"A white face with blue areas around the eyes and mouth, black lines, all pale looking. THE GHOST OF SOMEONE!" she declared as she stepped back to admire her work.

"Now, all three of you are characters from the Kabuki stage!" she cheerfully declared as she pulled out a phone and took a picture of the three.
"Now, when Kabuki first started it was actually done only by women! However, around 1630 women got banned from performing since it was said they took away from household duties. Thus, men preformed all kabuki roles, even if it meant cross dressing." with that she turned around, and put on a thick red jacket and two katana and made a very serious face. Speaking in a shockingly masculine tone.
"So don't be mistaken about my identity." she said.
"I will be teaching this class as a true Kabuki master." she said roughly before sitting down. Her posture, her facial expression, her outfit, all of it suddenly made the normally beautiful Kono-sensei seem extremely masculine.

"Kabuki done by men such as myself is called yarō-kabuki(young man's Kabuki)! It is the true form of Kabuki! However,due to some of my bros," she then sniffed and wiped her nose with her finger. [/b]", being a bit too PRETTY! The shogunate had to ban male actors playing female roles for a while. Fights broke out. Drunken bastards trying to sleep with my bros!"[/b] she yelled loudly.
"Its ok though, we got our bros to play female characters again after the shogunate lightened up around 1652." she said with a strong node and a bit of a snort.

"Kabuki is serious business man!" she said as she slammed her fist on the table!
"NOW! EACH OF YOU GIVE ME YOUR BEST IMPRESSION OF YOUR ROLE!"

Fairy
Suzu
Kitsu

--------------------
Azai Nobuyori
The stuck up clan lord who defends the people.

Tagami Yumiko
The adorable poet girl who hates war.

Katayama, Masato
A strategist bent on changing the world.
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Kitsu
 Posted: Dec 21 2017, 11:35 AM
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Osore had never really 'seen' samurai before, and all the colors that were being described were unknown to him. He could compare something to another such as 'a thing that looks like a specific thing' to compare colors to those he told his visions to, but beyond that he didn't know their names. He was instructed to perform his best samurai impersonation. Fighting was crude, but easily mocked for him.

He stood up and snapped his fingers. His flame spirits seemed to grow from nothing as they came to his aid, floating around the room and whispering intelligibly.
He placed his hand near his waist as if drawing a sword. As he started pulling, he began an illusion for everyone in the room. As he pulled the fake sword it began to appear in front of their eyes, a silver and ornate sword with jewels and gold decorations. He then made a very theatrical movement, stamping his foot semi-forcefully on the ground as if to emphasize his standing. He let out a samurai-esque grunt before slashing the sword in the air. One of his spirits moved to be 'struck' by it and stayed in place for a second before, as if realizing it messed up, floated down to the ground and flipped sideways as if 'dead'.

He performed the same way for the rest of the floating fire spirits before sheathing the sword, and as he put the clearly visible blade into the non-existent sheath, the blade disappeared inch by inch. He thrust down the last inch of the blade, and as he did so it made a metallic clink before vanishing. A tired Osore sat down again, having exhausted himself past what he thought this class would have required.

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Suzu
 Posted: Dec 24 2017, 07:08 AM
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The history lesson that came with their new makeup jobs was actually fairly entertaining for Inori. Her background knowledge hadn't been totally inaccurate then - performed by all male casts in the past. If it'd gotten so bad with pretty boys that they had to shut down kabuki for a while, that must've been something the see! What was particularly entertaining about it was the idea of her own brother as a kabuki actor and taking up those prettier roles. Somehow she just got the feeling that he'd be particularly good at it.

Speaking of Todos and trying kabuki, she was apparently expected to try out the role which their teacher had assigned her. Not just assigned but painted onto her face. Just how did a ghost act when it decided to make itself visible to other people? She sat there tapping her chin as the thought went through her mind, around and around. Every spirit or specter that she'd ever seen in a film or on TV joined an ever growing conga line of ideas and inspirations. Then she noticed what Osore was doing with what must be a relic and her attention was totally on the stage. By the end she was clapping enthusiastically, impressed by the display especially since she couldn't do anything that neat herself.

"Okay, guess I'm next eh?" she asked, pointing to herself before heading up to the stage. Okay, ghost.. ghooooost.. she thought as she slowly stepped up, head bowed while those mental images all coalesced. When she finally had something to go on her arms were held out in front of her, fingers waggling dramatically. Inori let out a guttural moan before looking up with wide eyes and fingers still waggling for all the were worth.

"Oooooooooo...... I have come to haaaaaunt you..... aaaa..... iiiiiiii......" she said in her best ghostly voice, "Uuuuuuu.... eeeeee.... oooooooooooh!" With that she limped forward, trying hard (and failing) to roll her eyes back so the whites would show. Finally she reached the edge of the stage, glared out at an imaginary person whom she shoved a finger at.. and then bowed before hopping off the stage.

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Nobuyumi
 Posted: Dec 28 2017, 10:27 PM
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Kono-sensei, still in character as a rough male, laughed like a drunkard. Keeping her voice grough and deep she yelled.
"GOOD! GOOD! THAT WAS SO GREAT!" as all three finished up their performances she nodded a few times and slammed her hand on the table again.
"NOW THAT IS THE MAGIC OF THEATER! HELL YEAH!" and with that she then pulled out a very beautiful oiled cloth, took off the large coat she had on, and washed the paint off her own face, breathing in and closing her eyes, opening and exhaling. Instantly she seemed back to the regular, composed, perfect Kono-sensei they all knew. Speaking in her regular voice she said.

"The beauty of Kabuki is that we can transform when in make up. I know you three didn't choose the roles I gave you, but when you have a theater role you are able to truly let go of yourself and be whomever you want. I encourage you all to try at least once in your life." then gave a smile.

"Lets briefly talk about Kabuki under the start of the Tokugawa Shogunate. Once males could play male and female roles again. During the Genroku era, kabuki thrived. The structure of a kabuki play was formalized during this period, as were many elements of style. Conventional character types were established. Kabuki theater and ningyō jōruri, the elaborate form of puppet theater that later came to be known as bunraku, became closely associated with each other, and each has since influenced the other's development. The famous playwright Chikamatsu Monzaemon, one of the first professional kabuki playwrights, produced several influential works, though the piece usually acknowledged as his most significant, Sonezaki Shinjū (The Love Suicides at Sonezaki), was originally written for bunraku. Like many bunraku plays, it was adapted for kabuki, and it spawned many imitators—in fact, it and similar plays reportedly caused so many real-life "copycat" suicides that the government banned shinju mono (plays about lovers' double suicides) in 1723. Ichikawa Danjūrō the 1st also lived during this time; he is credited with the development of mie poses and mask-like kumadori make-up." she explained as she pulled out pictures of kabuki actors wrapped together in rope falling off stage with extremely dramatic and sad looks on their faces. Then explaining to Osore what was in the photos.

"It was truly a grand 200 years for Kabuki! Male actors played both female and male characters.

In the 1840s, fires started terrorizing Edo due to repeated drought. Kabuki theatres, traditionally made of wood, were constantly burning down, forcing their relocation within the ukiyo. When the area that housed the Nakamura-za was completely destroyed in 1841, the shogun refused to allow the theatre to be rebuilt, saying that it was against fire code. The shogunate did not welcome the mixing and trading that occurred between town merchants and actors, artists, and prostitutes. The shogunate took advantage of the fire crisis in 1842 to force 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 forced out as well. Those in areas and lifestyles centered around the theatres also migrated, but the inconvenience of the new location reduced 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. This period produced some of the gaudiest kabuki in Japanese history. The 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 Theatre in 1624.

European artists began noticing Japanese theatrical performances and artwork, and many artists (for example, Claude Monet) were inspired by Japanese wood block prints. This Western interest prompted Japanese artists to increase their depictions of daily life including theatres, brothels, main streets and so on. One artist in particular, Utagawa Hiroshige, did a series of prints based on Saruwaka from the Saruwaka-machi period in Asakusa.

The relocation diminished the tradition's most abundant inspiration for costuming, make-up, and story line. Ichikawa Kodanji IV was 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 period 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 theater returned to Edo; many of his works are still performed.

In 1868, under a more progressive Shogun, Kabuki returned to the ukiyo of Edo. Kabuki became more radical in the Meiji period, and modern styles emerged. New playwrights created new genres and twists on traditional stories."
she explained before looking at the students.

"Isn't it interesting how things can be so different under different Shoguns?"


Fairy
Suzu
Kitsu

--------------------
Azai Nobuyori
The stuck up clan lord who defends the people.

Tagami Yumiko
The adorable poet girl who hates war.

Katayama, Masato
A strategist bent on changing the world.
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Suzu
 Posted: Jan 11 2018, 06:48 AM
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Thus far the class had been far more an interactive experience than Inori had guessed from its title. Heck she'd gotten to see someone who knew how to do the acting, and gotten to do that acting herself! There was something about the way which Kono-sensei spoke and carried herself that convinced the brunette it was a rowdy man on stage. Despite the fact that she knew it was a woman, she couldn't help but feel they were in the presence of male ruffian. Maybe she was just really getting into it too.

Once the makeup had gone the lecture began in earnest and a history of the art form began. This was where Inori struggled just a bit to keep everything straight. There was a lot of information to digest about how the art form had changed and evolved depending on who was in charge. She cringed a little at the idea that there had been suicides copying the plots of plays though. Death wasn't really something that she liked to think about too much, at least when it came to people who weren't trying to kill her or or friends. Even then she'd focus more on making a shot than.. well, what happened after the arrow struck home. The atmosphere got much more comfortable when the topic changed to more recent developments.

Plus, the idea that things could change under a given leader made her start wondering about the state of the theater these days. Getting up on stage and being a ghost had been nifty, and she thought maybe she'd want to try a bit more. Such a desire was going to be harder if she had to be a guy to do that. Sure she could get some pointers on the mannerisms but they'd be able to tell about her true identity. Yet what she knew about traditional kabuki didn't necessarily reflect the modern state of the art. Maybe things had changed even more, and she hadn't heard about it. So when Kono-sensei regaled in how things could change under different shoguns, Inori raised her hand.

"Ano, Kono-sensei.. things sure can change, but have they changed more recently? I mean, there can't be too much reason why a girl couldn't get on stage and be in a play these days. And if it's still not allowed, do you think that will change anytime soon?" Inori asked, eyes sparkling with the possibilities of acting dancing through her thoughts.

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Kitsu
 Posted: Jan 15 2018, 11:18 AM
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Osore sat quiet for a moment. He then spoke on the subject of things being different under different shogun. He began with an ominous tone, "The fickle ways of man are as old as the first fire and cave paintings." He took a breath that seemed a bit ragged, "What law is good for some, is despised by others." He paused for a moment again.

"Even things as simple as art can cause a disrupt of the normal flow of society and cause an outcry from the citizens effected by it." He fell silent for the last time, having explained his opinion. He thought he had wise insight about things of this nature, but he knew he had much learning to do still. He would then relax and wait to hear what else was to be said on the matter.

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Nobuyumi
 Posted: Jan 20 2018, 12:41 PM
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"Ano, Kono-sensei.. things sure can change, but have they changed more recently? I mean, there can't be too much reason why a girl couldn't get on stage and be in a play these days. And if it's still not allowed, do you think that will change anytime soon? Inori asked, as Osore gave wise words of comment to the question. Kono-sensei thought for a while, carefully about how to answer. After all she was technically employed by the Bugei, which answered directly to the Shogun himself. Her answers couldn't be extremely anti-government or overly hurtful. She looked at the three for a minute.

"I unfortunately don't see it changing any time soon. In a lot of ways I don't think it needs to. Kabuki is done in two ways, which makes it different from Noh. Under Shogunate law you can't do formal Kabuki if you are a female. So all formal, hard trained Kabuki is done by men. However, the founder of Kabuki was Izumo-No-Okuni. Who at the time didn't care about the government and performed by the river side. Females still do Kabuki, in a non-official capacity. Even extremely well trained and studied females. In this way, it is lashing out against government and formality, which is what Kabuki has always done." with her peace said she gave a polite bow, more to the ancestors of Kabuki than anything else. In many ways the teacher's words made it sound as though compared to the extremely formalized Noh, in some ways Kabuki was a rebel's kind of play performance. Something that by being outlawed in some ways kept it's status as an informal masterpiece performed by the river.

"You see, today, kabuki is the most popular of the traditional styles of Japanese drama—and its star actors often appear in television or film roles. In addition to the handful of major theatres in Edo and Kyoto, there are many smaller theatres in Osaka and throughout the countryside. The Ōshika Kabuki troupe, based in Ōshika, Nagano Prefecture, is one example.

Some local kabuki troupes today use female actors in onnagata roles. The Ichikawa Shōjo Kabuki Troupe, an all-female troupe, debuted in 1953 to significant acclaim but failed to start a new trend.Especially since the Shogunate didn't allow them to gain traction. Right now they are a traveling kabuki troupe, but officially not recognized.

In November 2002 a statue was erected in honor of kabuki's founder Okuni and to commemorate 400 years of kabuki's existence. It stands at the east end of a bridge crossing the Kamo River in Kyoto."


She explained the last bit of her notes, that she had on top of the desk before putting them under the desk and nodding at the students.
"Next time you guys go to Kyoto I recommend checking out the statue." the professor offered.
"That is about all I have for the lecture notes. Do you all have any more questions about Kabuki before we break for the day?"

Fairy
Suzu
Kitsu

--------------------
Azai Nobuyori
The stuck up clan lord who defends the people.

Tagami Yumiko
The adorable poet girl who hates war.

Katayama, Masato
A strategist bent on changing the world.
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Kitsu
 Posted: Jan 25 2018, 09:45 AM
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Osore was quiet when asked if anyone had questions. He was tired, his day having been long already, and he was ready to leave. He hoped that this particular class was over, not due to the lack of interest, but due to the need for rest afterwards. He had a trip to a foreign country planned for the near future to investigate their political structures.

He would put a sleeve up to his face and yawn, covering it to be polite as he was not intending to yawn at the instructor.

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Suzu
 Posted: Jan 30 2018, 06:11 AM
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All in all Inori wasn't terribly pleased to hear of the state of kabuki in the modern age. This was an art form invented by a woman and yet women weren't allowed to perform in official troupes of any kind. Unofficial traveling ones were one thing but that was kind of treating the ladies as second-class. No theater to call their own and at the whim of local lords and business owners to find somewhere to perform. The government wouldn't allow them to set a new trend even though a lot of time had passed since the original prohibition. The frown on her face said all you needed to know about the younger Todo's opinion of official policies.

"Well, er.. I guess the question I've got is do ya think it might be possible a future shogun would change his mind about this? It's really not fair to keep sayin' girls can't perform in kabuki," she pouted, before another thing floated into her mind, "And will there be more chances to learn some kabuki actin' here at Bugei?"

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