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70-688: The Elder Andong Kim clan (구 안동 김씨, 舊 安東 金氏) was founded during the Shillah Dynasty period by prince Kim Seuk-Seung (김숙승(金叔承) as the progenitor of the clan, who was the son of Gyeongsun of Silla , the last king of Shilla. Due to this, they were often referred to as the 'rebels' of the Korean noble family during the Goryeo Dynasty period and were also known as the Sangrak Kim clan (상락 김씨, 上洛 金氏). During this period, general Kim Bang-gyeong (김방경, 金方慶; 1212 —1300) who

140-418: A culture where pederasty was pervasive among samurai, her decision didn't significantly harm the theater's popularity. In fact, it may have even benefited Kabuki, as it caught the attention of the third shogun , Iemitsu , known for his interest in pederasty. He even arranged special performances. However, after Iemitsu's death in 1651 and with samurai now fighting for the attention of boys rather than girls,

210-475: A difficult time for kabuki; besides the war's physical impact and devastation upon the country, some schools of thought chose to reject both the styles and artforms of pre-war Japan, kabuki amongst them. Director Tetsuji Takechi 's popular and innovative productions of kabuki classics at this time are credited with sparking new interest in kabuki in the Kansai region. Of the many popular young stars who performed with

280-456: A hermit in Mount Kumgang . Kabuki Kabuki ( 歌舞伎, かぶき ) is a classical form of Japanese theatre , mixing dramatic performance with traditional dance . Kabuki theatre is known for its heavily stylised performances, its glamorous, highly decorated costumes, and for the elaborate kumadori make-up worn by some of its performers. The term kabuki originates from a verb that

350-565: A kabuki drama each year since 1976, the longest regular kabuki performance outside Japan. In November 2002, a statue was erected in honor of kabuki's founder, Izumo no Okuni and to commemorate 400 years of kabuki's existence. Diagonally across from the Minami-za, the last remaining kabuki theater in Kyoto, it stands at the east end of a bridge (Shijō Ōhashi) crossing the Kamo River in Kyoto. Kabuki

420-433: A key aspect of kabuki tradition, such as conventional character tropes. Kabuki theater and ningyō jōruri , an elaborate form of puppet theater later known as bunraku , became closely associated with each other, mutually influencing the other's further development. The famous playwright Chikamatsu Monzaemon , one of the first professional kabuki playwrights, produced several influential works during this time, though

490-520: A new surname from Taejo of Goryeo thanks to his contribution to the founding of the new dynasty. In 2020, the number of members of the New Andong Kim clan amounted to 30,300 individuals. It is the most prestigious family in Korea. The largest number of nobles was born in the entire history of Joseon. This is the head house of the family of Kim Yeong-su (1446-1502, pen name: Yangseodang), a civil official of

560-475: A number of shops selling kabuki souvenirs. After performances, women performers would offer sexual services for those who could afford it. Since fights would usually erupt among the young samurai patrons, shogunal authorities, who wanted to maintain order, banned women from performing on stage. Following this ban, Okuni replaced the women with boys in Kabuki performances. During the early seventeenth century, within

630-500: A performance as a way to feature the fashion trends. As an art-form, kabuki also provided inventive new forms of entertainment, featuring new musical styles played on the shamisen , clothes and fashion often dramatic in appearance, famous actors and stories often intended to mirror current events. Performances typically lasted from morning until sunset, with surrounding teahouses providing meals, refreshments and place to socialise. The area surrounding kabuki theatres also featured

700-509: A siege against 3,800 soldiers of Jinju city with 30,000 Japanese armies. However, the Japanese samurais lost within 7 days siege, with 16,000 casualties whereas Jinju army only suffered 150 casualties in total. Although a bullet wound that Shimin received during this siege took his life 11 days after the siege ended, his myth was further solidified by the 18th century kabuki 'The Legend of Tenjiku Tokubei (天竺徳兵衛韓噺)', which depicts Tenjuku Tokubei as

770-560: A warrior even more so. During the Mongolian Invasion of Japan in 1273, he led the wars of Tsushima to victory in only 6 hours, and destroyed the 30 km length army barricades set of modern Fukuoka city by the Kamakura shogunate army. This led to the defeat of the shogunate army and the Shimazu clan , and forced them to retreat to Dazaifu's Water Castle (水城). However, during this period, he

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840-402: A wheeled platform. Also common are stagehands rushing onto the stage adding and removing props, backdrops and other scenery; these kuroko ( 黒子 ) are always dressed entirely in black and are traditionally considered invisible. Stagehands also assist in a variety of quick costume changes known as hayagawari ("quick change technique"). When a character's true nature is suddenly revealed,

910-403: A women’s quarters, which together form a square layout with a courtyard in the center. There is also a shrine at the back to the right of the women’s quarters. The women’s quarters features a wooden-floored hall in the center with an underfloor-heated room on either side. The main room on the left has a narrow wooden veranda in front of it. The men’s quarters consists of an underfloor-heated room to

980-576: Is Gerald Vizenor 's Hiroshima Bugi (2004). Writer Yukio Mishima pioneered and popularised the use of kabuki in modern settings and revived other traditional arts, such as Noh , adapting them to modern contexts. There have even been kabuki troupes established in countries outside Japan. For instance, in Australia, the Za Kabuki troupe at the Australian National University has performed

1050-420: Is a technique, which appeared toward the middle of the 19th century, by which an actor's costume is attached to wires and he is made to "fly" over the stage or certain parts of the auditorium. This is similar to the wire trick in the stage musical Peter Pan , in which Peter launches himself into the air. It is still one of the most popular keren (visual tricks) in kabuki today; major kabuki theaters, such as

1120-493: 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

1190-461: Is often translated into English as 'strange things' or 'the crazy ones', and referred to the style of dress worn by gangs of samurai . The history of kabuki began in 1603 during the Edo period when former shrine maiden Izumo no Okuni , possibly a miko of Izumo-taisha , began performing with a troupe of young female dancers a new, simple style of dance drama in pantomime , on a makeshift stage in

1260-477: Is pulled back to one side by a staff member by hand. An additional outer curtain called doncho was not introduced until the Meiji era following the introduction of western influence. These are more ornate in their appearance and are woven. They depict the season in which the performance is taking place, often designed by renowned Nihonga artists. Since feudal laws in 17th century Japan prohibited replicating

1330-568: Is therefore sometimes translated as 'the art of singing and dancing'. These are, however, ateji characters which do not reflect actual etymology , being used for pronunciation. The kanji of 'skill' generally refers to a performer in kabuki theatre. Since the word kabuki is believed to derive from the verb kabuku , meaning 'to lean' or 'to be out of the ordinary', the word kabuki can also be interpreted as 'avant-garde' or 'bizarre' theatre. The expression kabukimono ( 歌舞伎者 ) referred originally to those who were bizarrely dressed. It

1400-580: 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

1470-464: The National Theatre , Kabuki-za and Minami-za , are all equipped with chūnori installations. Scenery changes are sometimes made mid-scene, while the actors remain on stage and the curtain stays open. This is sometimes accomplished by using a Hiki Dōgu , or "small wagon stage". This technique originated at the beginning of the 18th century, where scenery or actors move on or off stage on

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1540-567: 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. Beginning in 1868, enormous cultural changes, such as

1610-551: The Emperor sponsoring a kabuki performance on 21 April 1887. After World War II , the occupying forces briefly banned kabuki, which had formed a strong base of support for Japan's war efforts since 1931. This ban was in conjunction with broader restrictions on media and art forms that the American military occupation instituted after WWII. However, by 1947 the ban on kabuki was rescinded, but censorship rules lingered. The ensuing period of occupation following World War II posited

1680-479: The Genroku period was the development of the mie style of posing, credited to kabuki actor Ichikawa Danjūrō I , alongside the development of the mask-like kumadori makeup worn by kabuki actors in some plays. In the mid-18th century, kabuki fell out of favor for a time, with bunraku taking its place as the premier form of stage entertainment among the lower social classes. This occurred partly because of

1750-502: The IHI Stage Around Tokyo from March 4 to April 12, 2023. The kabuki stage features a projection called a hanamichi ( 花道 , "flower path") , a walkway which extends into the audience and via which dramatic entrances and exits are made. Okuni also performed on a hanamichi stage with her entourage. The stage is used not only as a walkway or path to get to and from the main stage, but important scenes are also played on

1820-519: The Joseon period (1392-1910). A head house is a residence passed down among the male successors of a family lineage. Sosan-ri Village, where the house is located, has been a clan village of the Andong Kim clan ever since Kim Yeong-su’s grandfather Kim Sam-geun (1390-1465) moved there in the 15th century. Kim Yeong-su demonstrated skill in martial arts at an early age. In recognition of his ancestor’s merits, he

1890-438: 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

1960-411: 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 prostitutes, took advantage of the fire crisis in the following year, forcing the Nakamura-za, Ichimura-za and Kawarazaki-za out of

2030-677: The Nakamura-za, Ichimura-za and Kawarazaki-za theatres became the most widely known and popular kabuki theatres, where some of the most successful kabuki performances were and still are held. During the time period of 1628–1673, the modern version of all-male kabuki actors, a style of kabuki known as yarō-kabuki (lit., "young man kabuki"), was established, following the ban on women and young boys. Cross-dressing male actors, known as " onnagata " (lit., "woman role") or " oyama " took over previously female- or wakashu -acted roles. Young (adolescent) men were still preferred for women's roles due to their less obviously masculine appearance and

2100-500: 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 was 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

2170-601: The Takechi Kabuki, Nakamura Ganjiro III (b. 1931) was the leading figure, first known as Nakamura Senjaku before taking his current name. It was this period of kabuki in Osaka that became known as the "Age of Senjaku" in his honor. Today, kabuki is the most popular of the traditional styles of Japanese drama, with its star actors often appearing in television or film roles. Well-known onnagata actor Bandō Tamasaburō V has appeared in several non-kabuki plays and movies, often in

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2240-461: The appeal of kabuki in this era was due to the ribald, suggestive themes featured by many troupes; this appeal was further augmented by the fact that many performers were also involved in prostitution . For this reason, kabuki was also known as 'prostitute kabuki' ( 遊女歌舞妓 ) during this period. Kabuki became a common form of entertainment in the red-light districts of Japan, especially in Yoshiwara ,

2310-455: The art form. Rice powder is used to create the white oshiroi base for the characteristic stage makeup, and kumadori enhances or exaggerates facial lines to produce dramatic animal or supernatural masks . The colour of the kumadori is an expression of the character's nature: red lines are used to indicate passion, heroism, righteousness, and other positive traits; blue or black, villainy, jealousy, and other negative traits; green,

2380-423: The carriage that was transporting him by throwing rocks at the soldiers and ordering his release. This led Kublai Khan to order Kim Bang-gyeong's release himself, and he was released in 1280 at the age of 68. Although he later tried to resign from his rank as a military officer, due to injuries and disability made during his torture, the king refused his resignation and insisted him to stay. Historians assert that this

2450-406: The city limits and into Asakusa , a northern suburb of Edo. This was part of the larger Tenpō Reforms that the shogunate instituted starting in 1842 to restrict the overindulgence of pleasures. Actors, stagehands, and others associated with the performances were also forced to move as a result of the death of their livelihood; despite the move of everyone involved in kabuki performance, and many in

2520-630: The clan's footstep as a noble scholar and a swordsman, and was appointed as the military official of the North, where he fought against the Nitange's rebellion during 1583. However, due to the corruption within Joseon Dynasty's military at the time, he resigned after publicly criticizing the king and his military order at the time. Although he was later reinstated as the aiding general of Jinju in 1591, his commander and comrades soon fled Jinju city upon hearing about

2590-421: The country, including anime-based productions such as Naruto or One Piece starting from 2014. Super Kabuki has sparked controversy within the Japanese population regarding the extent of modification of the traditional art form. Some say that it has lost its 400-year history, while others consider the adaptations necessary for contemporary relevance. Regardless, since incorporating more advanced technology in

2660-420: The devices of hikinuki and bukkaeri are often used. This involves layering one costume over another and having a stagehand pull the outer one off in front of the audience. The curtain that shields the stage before the performance and during the breaks is in the traditional colours of black, red and green, in various order, or white instead of green, vertical stripes. The curtain consists of one piece and

2730-572: The dry bed of the Kamo River in Kyoto In the earliest forms of kabuki, female performers played both men and women in comic playlets about ordinary life. It did not take long for the style to become popular, and Okuni was asked to perform before the Imperial Court. In the wake of such success, rival troupes quickly formed, and kabuki was born as ensemble dance and drama performed by women. Much of

2800-417: The emergence of several skilled bunraku playwrights in that time. Little of note would occur in the further development of kabuki until the end of the century, when it began to reemerge in popularity. In the 1840s, repeated periods of drought led to a series of fires affecting Edo, with kabuki theatres—traditionally made of wood—frequently burning down, forcing many to relocate. When the area that housed

2870-446: The fall of the Tokugawa shogunate, the elimination of the samurai class, and the opening of Japan to the West, helped to spark kabuki's re-emergence. Both actors and playwrights strove to improve the reputation of kabuki in the face of new foreign influence and amongst the upper classes, partially through adapting traditional styles to modern tastes. This endeavour would prove successful, with

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2940-458: The favors of a particularly popular or handsome actor, leading the shogunate to ban first onnagata and then wakashū roles for a short period of time; both bans were rescinded by 1652. During the Genroku period, kabuki thrived, with the structure of kabuki plays formalising into the structure they are performed in today, alongside many other elements which eventually came to be recognised as

3010-459: The gallery", is sometimes used as a catch-all for these tricks. The hanamichi , and several innovations including revolving stage, seri and chunori have all contributed to kabuki. The hanamichi creates depth and both seri and chunori provide a vertical dimension. Mawari-butai (revolving stage) developed in the Kyōhō era (1716–1735). The trick was originally accomplished by

3080-579: The higher pitch of their voices. The roles of adolescent men in kabuki, known as wakashu , were also played by young men, often selected for their attractiveness; this became a common practice, and wakashu were often presented in an erotic context. The focus of kabuki performances also increasingly began to emphasise drama alongside dance. However, the ribald nature of kabuki performances continued, with male actors also engaging in sex work for both female and male customers. Audiences frequently became rowdy, and brawls occasionally broke out, sometimes over

3150-428: The kabuki industry for generations. The kimono the actors wear for their costumes are typically made with vibrant colours and multiple layers. Both otoko and onnagata wear hakama - pleated trousers – in some plays, and both use padding underneath their costumes to create the correct body shape for the outfit. Kabuki makeup provides an element of style easily recognizable even by those unfamiliar with

3220-495: The kingdom during the 'Rebellion of Sambeyolcho (삼별초의 난)'. He was then ordered to aid the Mongol invasions of Japan in reluctance. Despite being Kublai Khan 's most trusted and respected swordsman - being the first foreigner to receive the 2nd rank of noble as a warrior (문무 2품 文武) in 1276, which was a higher rank than the former emperor of Southern Song - he only showed loyalty to King Gojong, which in turn, made Kublai Khan respect him as

3290-572: The late 17th century and reached its zenith in the mid-18th century. In 2005, 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 . The individual kanji that make up the word kabuki can be read as 'sing' ( 歌 ) , 'dance' ( 舞 ) , and 'skill' ( 伎 ) . Kabuki

3360-484: The left and a wooden-floored hall to the right, which are separated by liftable doors and can be joined into a single space when necessary. Gyeongsun of Silla Gyeongsun (897–978), personal name Kim Pu , was the 56th and final ruler of the Korean kingdom of Silla . A sixth-generation descendant of King Munseong , he was the son of Kim Hyo-Jong by Princess Gyea, who was the daughter of King Heongang . His wife

3430-428: The looks of samurai or nobility and the use of luxurious fabrics, the kabuki costumes were groundbreaking new designs to the general public, even setting trends that still exist today. Although the earliest kabuki costumes have not been preserved, separate otoko and onnagata kabuki costumes today are made based on written records called ukiyo-e and in collaboration with those whose families have been in

3500-439: The lost cities of Geochang County , Goseong County, South Gyeongsang , Changwon , Jinhae-gu , and Sacheon with only 1000 men. Due to these incredulous and almost inhumane accomplishments, the Japanese army feared him, and dubbed him as a monster / ghost / phantasm named 'Mokuso Sokahn (木曽判官 もくそかん / 蝦蟇の妖術使い)'. This myth was only solidified during the siege of Jinju castle , where Ukita Hideie and samurai Hosokawa Tadaoki led

3570-657: The majority of kabuki troupes have remained entirely-male. The introduction of earphone guides in 1975, including an English version in 1982, helped broaden the artform's appeal. As a result, in 1991 the Kabuki-za, one of Tokyo's best known kabuki theaters, began year-round performances and, in 2005, began marketing kabuki cinema films. Kabuki troupes regularly tour Asia, Europe and America, and there have been several kabuki-themed productions of Western plays such as those of Shakespeare . Western playwrights and novelists have also experimented with kabuki themes, an example of which

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3640-483: The new stage sets, costumes, and lighting, Super Kabuki has regained interest from the young demographic. In addition, Square Enix announced a Super Kabuki adaptation of Final Fantasy X collaborating with Tokyo Broadcasting System in 2022. Entitled Kinoshita Group presents New Kabuki Final Fantasy X and part of celebrations of the Final Fantasy franchise's 35th anniversary, it is scheduled to be performed at

3710-422: The on-stage pushing of a round, wheeled platform. Later a circular platform was embedded in the stage with wheels beneath it facilitating movement. The kuraten ("darkened revolve") technique involves lowering the stage lights during this transition. More commonly the lights are left on for akaten ("lighted revolve"), sometimes simultaneously performing the transitioning scenes for dramatic effect. This stage

3780-418: 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, eventually becoming popular enough to reportedly inspire a number of real-life "copycat" suicides, and leading to a government ban on shinju mono (plays about love suicides) in 1723. Also during

3850-494: The registered red-light district in Edo. The widespread appeal of kabuki often meant that a diverse crowd of different social classes gathered to watch performances, a unique occurrence that happened nowhere else in the city of Edo. Kabuki theatres became well known as a place to both see and be seen in terms of fashion and style, as the audience—commonly comprising a number of socially low but economically wealthy merchants —typically used

3920-608: The role of a woman. Kabuki also appears in works of Japanese popular culture such as anime . In addition to the handful of major theatres in Tokyo and Kyoto, there are many smaller theatres in Osaka and throughout the countryside. The Ōshika Kabuki ( 大鹿歌舞伎 ) troupe, based in Ōshika , Nagano Prefecture, is one example. Some local kabuki troupes today use female actors in onnagata roles. The Ichikawa Shōjo Kabuki Gekidan, an all-female troupe, debuted in 1953 to significant acclaim, though

3990-405: The shogunate imposed further restrictions, allowing only males over 15 to perform on stage. Kabuki switched to adult male actors, called yaro-kabuki , in the mid-1600s. Adult male actors, however, continued to play both female and male characters, and kabuki retained its popularity, remaining a key element of the Edo period urban life-style. Although kabuki was performed widely across Japan,

4060-490: The son of Kim Shimin, who teaches him evil Christian magic and orders him to terrorize Japan. The census in 2020 found the number of members to be 1,005,500. Kim Seub-don (김습돈, 金習敦) made his ascendant, Kim Seon-pyeong (김선평, 金宣平), the founder of New Andong Kim clan (신 안동 김씨, 新 安東 金氏). Kim Seon-pyeong was one of the founding contributors of the Goryeo Dynasty . He was originally a castellan of Andong province. Later, he received

4130-511: The stage. Kabuki stages and theaters have steadily become more technologically sophisticated, and innovations including revolving stages and trap doors were introduced during the 18th century. A driving force has been the desire to manifest one frequent theme of kabuki theater, that of the sudden, dramatic revelation or transformation. A number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations. The term keren ( 外連 ) , often translated as "playing to

4200-409: 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

4270-482: The upcoming invasion heading to the city, leaving the citizens to die and only him to defend the city. Thus, he took control of the 1,000 swordsman of the Jinju castle, and began acting very proactive against the attacks. Despite the sheer outnumbered factions against the Japanese armies, who were now armed with Dutch firearms and guns due to their trades with the West, Kim Shimin led his army to multiple victories by recapturing

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4340-667: Was Lady Jukbang ( 죽방부인 ) of the Juksan Park clan, his eldest son was Crown Prince Maui, and his youngest son was Beomgong. Gyeongsun was placed on the throne by the Later Baekje king Kyŏn Hwŏn after the Hubaekje forces sacked Gyeongju in 927. The kingdom was already in an extremely weakened state, so Gyeongsun reigned over a tiny remnant of the former Silla territory until finally abdicating in favour of Taejo of Goryeo in 935. He remarried Taejo's daughter Princess Nangrang ( 낙랑공주 ) and

4410-525: Was a legendary swordsman of Goryeo dynasty later made as Kim Seuk-Seung's new ascendant and the newest sijo (중시조) of the family, raised the clan back to its former prestige. When the Mongols invaded during the reign of King Gojong of the Goryeo Dynasty, Kim Bang-gyeong entered Wido in 1248 as a Byeongma Pangwan in Seobuk-myeon, where he fought against his former comrades and mercenaries who turned rogue against

4480-598: Was appointed sasim-gwan (사심관, inspector-general) of Gyeongju , becoming the first of Goryeo 's sasim-gwan system. He lived out the remainder of his life near the Goryeo capital (modern-day Kaesong ). He died in 978 and his tomb lies in Jangnam-myeon, Yeoncheon County , Gyeonggi Province , South Korea. According to the Samguk sagi , Gyeongsun's son, Crown Prince Maui objected to his father's submission to Goryeo and became

4550-495: Was first built in Japan in the early 18th century. Seri refers to the stage "traps" that have been commonly employed in kabuki since the middle of the 18th century. These traps raise and lower actors or sets to the stage. Seridashi or seriage refers to trap(s) moving upward and serisage or serioroshi to traps descending. This technique is often used to lift an entire scene at once. Chūnori (riding in mid-air)

4620-408: Was given an official post without taking the state examination. His great-great-grandson Kim Sang-heon (1570-1652) served as minister of rites. The clan eventually became one of the most influential families during the late Joseon period. The house faces southwest and has no main gate. All the buildings have tiled roofs. The residential area of the house consists of a men’s quarters, gate quarters, and

4690-571: Was inscribed on the UNESCO Intangible Cultural Heritage Lists in 2005. While still maintaining most of the historical practices of kabuki, Ichikawa En-ō ( 市川猿翁 ) aimed to broaden its appeal by creating a new genre of kabuki productions called "Super Kabuki" ( スーパー歌舞伎 ) . With Yamato Takeru ( ヤマトタケル ) as the first Super Kabuki production to premiere in 1986, remakes of traditional plays and new contemporary creations have been brought to local theaters throughout

4760-454: Was most likely due to king's attempt to conceive political checks and balances against the increasing Mongolian influence within the Goryeo Dynasty's loyal court, as Kim Bang-geyong was the only loyal Korean imperialist general of his court. He was listed as a member of the Central Book of Records, and died in 1300 at the age of 88. His 12th successor, Kim Si-min (Kim Shimin, 김시민), followed

4830-483: Was used to describe young samurai patrons, meaning "being weird" or "offbeat." Kabuki is thought to have originated in the early Edo period , when the art's founder, Izumo no Okuni , formed a female dance troupe that performed dances and light sketches in Kyoto . The art form later developed into its present all-male theatrical form after women were banned from performing in kabuki theatre in 1629. Kabuki developed throughout

4900-402: Was yet again framed by his political rivals during 1278. Due to the pressure from his loyal court, king of the Goryeo dynasty reluctantly ordered to torture him at his age of 66 and ordered exile against his sons, almost ending the clan. According to the official records of Goryeo Sajulyeo , people of Kim Bang-geyong's territory cried and begged for his release during February 1278, trying to stop

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