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Paper short abstract:

The paper refers to innovation in kabuki in the previous 5 years such as anime-originated kabuki and new technologies. Then it discusses how effectively such challenges have been organized between tradition and innovation to get and raise new audiences as well as to satisfy existing audiences.

Paper long abstract:

The modern world of kabuki is serious to attract more audience of younger generations. One of the most conventional means has been young and popular kabuki actors’ appearance on TV programs, movies or modern plays. Inviting modern directors or collaboration with other performing arts have been effective and continue. However, they seem to realize that it is not enough to keep and raise theatre goers for kabuki performances.

For example, they have produced kabuki performances based on Japanese anime from 2015, which has also got visitors from abroad. Such programs as <i>One Piece, NARUTO</i> and <i>Nausicaa of the valley of the wind</i> could be intended for overseas performances. Shinbashi Enbujo Theatre has featured such innovative kabuki programs as well as traditional kabuki. Especially, Nausicaa was a more than 7 hours of one-day program through matinee and soiree. While <i>One Piece</i> and <i>NARUTO</i> invited actors from modern theatre, the theatre of Nausicaa was composed of kabuki actors only and traditional kabuki techniques were respected.

While Ichikawa Ebizo XI, succeeding to Danjuro XIII in 2020, did not join such newly written kabuki, he introduced a new technology, ‘immersive projection’ to his performance, <i>Tale of Genji</i>. He also starred in an abridged version of classic kabuki drama, <i>Yoshitsune senbon zakura</i>, in the Kabuki-za theatre for the soiree of July 2019. The abridged version of scenario was newly prepared for the performance. Ebizo played thirteen roles throughout the play, often by ‘hayagawari’ method. Such a show clearly emphasizes an entertainment aspect of kabuki.

In addition, there was a collaborative performance between figure skating and kabuki, <i>Hyo-en</i>, shown in 2017 at National Yoyogi Stadium. It was intended to raise awareness to Japanese culture and sports for Tokyo Olympics and Paralympics in 2020. Although the collaboration finished just as a single project, it was a great opportunity to think about performers’ body in terms of stylized acting and skating technique. It also features Japanese drumming and projection mapping.

The presenter will discuss how effectively such challenges were organized between tradition and innovation to get and raise new audiences as well as to satisfy existing audiences.