It's a traditional performing art with a rich history.

It draws a million theater-goers per year...

It's kabuki.

Explore this art with popular kabuki actor Kataoka Ainosuke on KABUKI KOOL!

Our topic this time is kabuki conventions.

Beginning with "kumadori" make-up and "onnagata" female role specialists, kabuki is full of conventions.

Sarah Àlainn is still a newbie to kabuki.

Let's learn about kabuki with Ainosuke and Sarah!

Let's open the curtain!

Hi, I'm Sarah Àlainn.

The world of kabuki is so far apart from contemporary Japan.

From the stories and acting, to the costumes and artwork, there are so many conventions that are unique to kabuki.

Today kabuki actor Kataoka Ainosuke will be teaching us those fundamental rules and conventions of kabuki.

- Thank you for joining me!
- Hello!

Kabuki really is a unique form of performing arts!

Yes. It may look strange at first, but kabuki has all kinds of rules and conventions

and knowing them will make kabuki easier to understand.

Sarah-san, what's the first thing to pop into your head when I say the word kabuki?

Definitely the make-up. The red, black lines on white are extremely striking.

Yes, the "kumadori!"

You can see it right here on in our set!

This make-up is unique to kabuki.

It's almost like a painting!

Yes, and they say that you need to be able to draw as an artist to do "kumadori" properly.

Sarah-san, just by seeing the patterns of this make-up,

you can know the personality of the character and even whether it is human or not.

"Kumadori" is one of the important conventions of kabuki.

In "The Fight Over the Carriage" there are triplets with different personalities.

The differences are expressed by the pattern of their "kumadori" make-up.

First are Umeomaru and Sakuramaru.

Umeomaru is a fighter for what is right.

The red lines of his "kumadori" make-up show that he is a good guy.

Having several lines emphasizes this.

His make-up is called "suji-guma" and this is the most representative make-up for a powerful "aragoto" hero.

Sakuramaru is both strong and gentle.

There is just a little red by his eyes.

His make-up is called "mukimi" since it resembles an unshelled clam.

The third of the brothers is Matsuomaru.

At this point, he is an enemy of his two brothers.

Powerful and strongly loyal, he also has a torment he can't reveal to his brothers.

His "kumadori," "nihon guma," features two lines of red, indicating a mature "aragoto" role.

I lead this carriage and you two can never stop it!

Out of the broken-up carriage emerges Matsuomaru's master, Shihei.

This villain controls the government and has defeated the masters of the other brothers.

His make-up is blue.

This indicates an evil court aristocrat who is seeking to take over the realm.

- That last guy sure looked evil!
- Yes.

He kind of reminds me of the Joker from Batman.

Yes, you're right!

But it's interesting how you can tell a character's personality just by looking at the "kumadori."

I mean, it's so clear, it makes sense.

Yes, it's very clear!

Here are the four characters again.

Can you identify them?

- This is you, on the right, I believe?
- Yes, as Umeomaru.

The red lines really stand out.

These are exaggerated blood vessels.

You know how veins stand out when you're mad?

This "kumadori" shows blood vessels and muscles.

This is for a hero and also suggests strength, youth and hot headedness.

- You're right, it does give that sort of impression.
- Doesn't it?

And do you do your own make-up every single time?

Of course!

Umeomaru has a very strong sense of justice, and he's short-tempered.

As I paint this "kumadori," I gradually feel myself taking on Umeomaru's personality.

Then this is Shihei, with the blue "kumadori."

- This signifies a bad guy.
- Heh, heh. You can tell.

Blue is used to show coldness and evil.

And sometimes for inhuman characters such as demons or ghosts.

He does look cold. He doesn't exactly look too well, either. Sickly even!

Yes. Sickly.

- Now let's look at a very different "kumadori."
- OK.

- Wow!
- Take a look.

- Is this you as well?
- Yes.

He looks venomous. Actually, he doesn't look even human.

Well, exactly! It's a spider spirit.

A spider spirit!

- I don't want to get too close to that!
- Right?

Just look at those lines. They bring out his wrinkles, even.

- And they aren't red or blue.
- Mmm.

This brown indicates that it is a non-human character, in this case, a monstrous spider.

- So if you see brown "kumadori," you can know that.
- I see.

Now, I heard that in kabuki, all the actors have to be male.

How do that convention come about?

Well, there is a reason behind it.

Kabuki was started about 400 years ago by a woman called Izumo no Okuni.

And here she is, Okuni.

Hmm, She has a sword! Her costume is a bit unusual.

Yes, people who wore flashy or unusual clothes in this period were called "kabuki-mono."

Okuni turned the fashions of the "kabuki-mono" into theater.

- So a woman founded kabuki?
- Yes.

That was unexpected!

- This is how kabuki started.
- I see.

But Edo government laws later prohibited women from performing on stage.

So female roles had to be played by male actors.

- Hmm, so that's why?
- Yes.

But I imagine it can't be easy for men to play female characters.

Ainosuke-san, you yourself have played many female roles, haven't you?

- Yes, I have. In kabuki, female roles are called "onnagata."
- "Onnagata."

Here are... two roles.

Wow! Beautiful!

- I can't believe that the same person played that spider.
- Yes.

And what kind of character is this?

Fuji-musume. A wisteria spirit who appears as a young girl.

- Hmm.
- Yes.

And this one here, now this is an ornate costume!

Yes, it is. She is a top-ranking courtesan.

"Onnagata" roles are divided into various types and the courtesan is one of them.

Let's look at these different types of roles.

One fundamental role type for an "onnagata" is a top-ranking courtesan: elegant, colorful and alluring.

A man from the country goes to the Yoshiwara

and at first sight he is entranced by the beauty of this courtesan.

I can't believe it's a man playing that!

- He looks just like a real woman!
- Doesn't he!

I've also played a courtesan role.

The make-up has to be bigger and bolder than usual to balance that costume and wig.

- Otherwise, the face will not stand out properly.
- Oh I see!

And the way he walks, it's quite peculiar.

Yes, it's called "hachi monji" or "figure eight" because you trace out an eight as you walk.

Apparently real courtesans actually did that.

At the same time you walk this way, you have to look like a real woman and a top-ranking courtesan.

The audience knows it's a man, but they have to be able to believe that it is a woman.

- This is another of the conventions of kabuki.
- Mm. I see.

Then, there is the "musume" or "young girl," the daughter of a rich merchant.

Her personality shows in her quiet and gentle movements and the coy way that she angles her face.

Age decides the position of the "obi" sash.

The younger the character, the higher the "obi." Then it gets lower.

- Oh, it gets lower!
- Yes.

The same play also shows another kind of woman.

This is an older woman called an "akuba" who doesn't hesitate to commit any crime to get what she wants.

She is tough and tenacious and sometimes speaks like a man.

But she also must have the allure of a woman.

This is difficult for the performer,

who shows this woman's personality with the way she moves and the way she wears her kimono.

The costume of a princess is usually red and expresses her character.

A princess is brought up in sheltered surroundings and combines elegance and unshakable passion.

I thank you for rescuing and protecting me.

Is that you playing the princess?

Yes, I'm afraid it is.

As a princess, she is delicate and all her movements must be elegant.

But she is also full of passion and if it is for the man she loves, she will do anything.

In this scene, she is pulling a cart holding her sick lover to a place where he can be cured.

Now HE looks like a bad guy! What's happening here?

This is the villain who killed her father and her lover's father.

He wants to take over the realm. He captures her and ties her to a tree.

What was most difficult about this particular scene?

As much as possible, no matter how much you move,

you always have to stay at a slight diagonal, one way or the other.

Because an "onnagata" is a man,

if he stands directly facing the audience, they will see the line of a male body.

So an "onnagata" stays at a slight angle whatever he does.

Those characters were even more feminine than females in real life!

What sort of techniques are used to make you look more feminine?

There are lots of tricks and traditions to help you look more naturally feminine.

I was also taught the basics of how to move and stand as an "onnagata."

The basics? Like what, for example?

- Well, Let's take walking.
- Mm-mm.

- I imagine you probably walk like this, Sarah.
- Yes. Mm-mm.

- Now that stride length looks odd in a kimono.
- Mmm.

- So each leg only moves forward the length of a foot.
- Ah, wow!

And the knees stay together. They touch at all times.

That's tricky!

When I was practicing I would put paper or something like this between my knees.

And then walk without letting it fall.

- So that's how you practice!
- Yes. Like this.

It does make your movements look extremely elegant!

Now bend the knees, and keep them together to look feminine.

Is there anything else?

- Um, pointing at things.
- Mmm.

How do you point?

Of course, yes. But we don't grip our bottom three fingers so tightly.

If not... Our hands look male.

- Loosen the bottom three and it looks more feminine.
- Oh, like this!

- You see?
- OK.

- That's it.
- Wow!

- Now Like that.
- Mm-mm.

- Yes.
- Wow. I see!

Now try waving.

- Hi!
- If you do that with a kimono, your arm sticks out.

- That looks bad.
- Uh-huh.

So we hold the sleeve, like this.

- Oh right!
- Yes, like this.

How elegant!

It's beautiful, but not something women in real life would do.

Well, it's a male take on feminine beauty so "onnagata" still use it.

- By the way, Ainosuke-san, there's another thing I've been meaning to ask you.
- Yes?

- Kabuki stages have that runway like they do in fashion shows.
- Yes.

- And when actors appear on it, the crowd goes crazy!
- Yes.

Is that another typical convention in kabuki?

- It's called the "hanamichi."
- "Hanamichi."

It's used for the entrance and exit of important characters.

It's a great way to get up close and personal with the audience.

"Narukami" is set in a hermitage deep in the mountains by a waterfall.

Now the "hanamichi" is a steep path through the mountains.

Beautiful Princess Taema appears on the "hanamichi."

She has come searching for Narukami, reputedly a holy man with great powers.

My fingers will soon heal your cramps.

Narukami is entranced by her, breaks his vows and demands that the princess be his.

While Narukami sleeps, she releases the dragon gods that have been imprisoned in the waterfall.

In fact, she is a spy from the imperial court sent to do this.

When she flees back to Kyoto, it is again, along the "hanamichi."

Narukami is furious and in the final moments, goes to pursue her.

Narukami moves with the jumping-walk called a "roppo."

This shows violent emotion and is a movement that uses the "hanamichi."

With this "roppo" you can't just do the movement.

You have to have the right feeling and use your eyes.

Narukami is furious at the princess and he follows her on the "hanamichi" to try to get to her.

That has to show.

There is another special feature to the "hanamichi."

In this play, an important character is a magical fox.

But when we first see him, he looks like a "samurai."

This is a special lift called a "suppon" which is used for ghosts and other supernatural creatures.

This "samurai" is actually a magical fox.

Oh! He looks just like a fox!

Yes, he does look like a fox, doesn't he?

These stage devices are all used to surprise and delight the audience.

Now here's one more very spectacular stage technique.

What is it?

- It's called "chu-nori."
- "Chu-nori."

Does that mean "to float?"

- That's close.
- Hmm.

In the second part of the scene with the magic fox, Tadanobu shows his true nature and flies.

This is shown with a technique called "chu-nori" where the actor is suspended above the "hanamichi."

This technique has existed from the Edo period.

So it literally meant "to fly!" Oh wow!

The audience must love it!

Have you ever done this yourself, the "chu-nori?"

Yes, I've done it a few times.

- Here.
- Here we are!

- That's you flying!
- Yes, I am.

And what's that on your back?

This is from a play called "Goemon."

My character appears from inside a box that's in mid-air, then the box is on my back.

After I do a very energetic fight scene

I have to wait a long time in this little box trying to be as still as possible.

It's really painful!

- But you can't tell from looking at this picture.
- Really?

Yes, it looks completely natural and even enjoyable.

Actually holding this pose is very painful.

- So, Sarah.
- Mm-mm.

I have another kabuki technique.

Oh, something flashy again?

No, no, not at all. It's designed to be unnoticed, but it's very important.

We're going back to the scene we discussed earlier.

This time look behind the actors.

When the two characters enter, behind them are figures in black that look like ninja.

These stage assistants are called "kurogo."

They help the actors with their props and costumes and in all kinds of other ways.

- So that's what those men in black were!
- Yes.

- Oh, they caught the slippers.
- Yes.

They're all in black so they are called "kurogo," which means, "black costume."

In kabuki, there is a convention that black means you can't see them, so it's like they are invisible.

But for us, they are very important.

Usually they are students of the actor they are helping.

So they're all actors?

Yes, but here they function like production assistants.

When they are not needed they stay inconspicuously in back.

But when the time comes, they help with the costume, or a prop.

There's no way I can get out of this costume by myself.

Are you giving them the signal?

No, they move by being perfectly coordinated with me without getting in the way.

Look! They help me with this all-important "mie."

He's holding out your the sleeves.

Yes. This makes the "mie" look even bigger.

They help to enhance my acting.

All kinds of sounds are important in kabuki.

For example, listen when the "mie" is done.

A member of the stage crew called the "tsuke uchi" sits on the side of the stage

and strikes a board with wooden sticks to emphasize "mie" and other movements.

Another sound comes from the wooden clappers called "ki."

They are struck by the traditional stage managers called "kyogen sakusha."

This sound opens and closes a scene and also is a signal for all kinds of things during the play.

Watch the end of the scene paying attention to the sounds.

Listen how the sounds of the "ki" and the "tsuke" combine with the music and voices.

What a beautiful, sonorous sound!

I've always loved the sound, but never knew it's such an important part of kabuki.

It's been used since the Edo period, and not just for the ending.

- Different sounds can mean different things.
- Wow!

- And, of course, the "kurogo!"
- Yes.

I'd no idea that black was the symbol of invisibility!

- That was definitely all new to me!
- Oh really?

- You certainly can't do without them!
- Oh, absolutely.

If something goes wrong - say, my sword breaks during a fight scene.

- They'll instantly bring me a new sword and pass it to me.
- Wow!

And subtly, from behind, so I can smoothly draw it out.

- That's amazing!
- We can't perform without them.

- Mm, they're absolutely vital!
- Yes.

I know the point is for them to be invisible, but from an audience's point of view,

I think it's quite interesting to see what they are up to.

- You know, like, "ah, there he goes again!"
- Oh I'm sure!

These conventions are part of the appeal of kabuki.

- Now we've received lots of questions and letters from our viewers.
- Thank you!

This one is from JP Taxa of Braga, Portugal.

- Great!
- Okay.

I just want to welcome you to the show hosting and I hope you make it as fun and interesting as it always was.

I've realized that I can do the "eye," "mie."

I hope you find it nicely done (apologies for the bad picture).

- There we go! Wow!
- Oh!

Oh my goodness!

- That's fantastic!
- Wow!

This is just perfect, JP Taxa!

- Spot on!
- This is tricky stuff!

I mean, I've been practicing since last time, too!

- That's Not bad!
- Have I got it?

You've done it! You've got it!

- Yay!
- You've mastered it.

Why, thank you.

And don't forget to visit our website.

You can find lots of information on kabuki and now you can also view video digests of our show.

Please send us your comments and questions.

And now... we've come to the end of the show.

- Yes. So soon!
- I know! Too soon! Shall we, then?

- Okay. Ready?
- OK!

Hear ye!

That's all for today!