Paper short abstract:

I examine kabuki's response to challenges currently facing the performing arts in Japan and internationally, especially those highlighted by the pandemic. I focus on experimental presentations of kabuki that show a creative response to these challenges, in line with its history of innovation.

Paper long abstract:

This paper examines kabuki’s response to the challenges most recently confronting the performing arts. I consider the challenges that apply to the theatre industry globally, and those that are specific to the contexts of Japan and kabuki, bearing in mind the overlap between the three areas. I then attempt to evaluate how far the challenges of the current climate in the performing arts have incentivized resourcefulness and creativity in kabuki.

I begin by summarizing some of the common concerns in the performing arts worldwide, such as limited facilities, funding and job security for performers and staff; the need to attract and maintain new audiences, especially from the younger generation; and the effects of COVID-19 restrictions. I go on to discuss their impact in Japan, and in particular relation to kabuki, taking into account the influence of national economic and cultural policies, and of the attitudes of the kabuki community and general public. I also inquire how far those who are most immediately involved with kabuki perceive the ways they address these issues as a form of crisis management.

Noting the tendency of contemporary kabuki to value its traditions, but ultimately to prioritize innovation so as to ensure it continues to evolve as living drama, I focus on experimental presentations of kabuki that offer a creative response to the challenges outlined. My examples will include the livestreamed “super kabuki” performances in which kabuki actors appear with vocaloid Hatsune Miku at the Niconico Chokaigi Festival, which date from 2016; and the “Zoom kabuki” productions and other digital engagement during lockdown in 2020 and 2021. I also examine the name succession ceremony for Ichikawa Danjūrō XIII in November 2022, paying particular attention to the response to unexpected factors that affected the timing and management of the event. Finally, I look briefly at the aspects of kabuki that may hamper its ability to deal with the current situation.

My conclusion suggests that, due to a history of adaptability and openness to innovation, kabuki is uniquely equipped to meet the challenges it faces as a traditional performing art in contemporary Japan.

Paper short abstract:

Most local amateur kabuki groups have had to face various issues of succeeding their tradition during and after the COVID-19 crises. The author will analyze a local amateur kabuki, Ogano kabuki, in terms of their efforts and solidarity to preserve their local culture, surviving the crises.

Paper long abstract:

Most local amateur kabuki groups have had to face various issues of succeeding their tradition during and after the COVID-19 crises. Most local festivals including kabuki performances have been canceled, and they couldn’t have practiced together in person their repertoire and related skills, to avoid infection. During this period, actors, instrument players, and storytellers, gidayu have only practiced on their own, which restricts their improvement, while each property such as costumes and wigs must have got prepared with care. Different from professional kabuki actors, amateur kabuki participants tend to be affected by their personal circumstances such as regular works and family issues. In addition, their instructors, or leaders (also amateur) are likely to be elderly people, and some have passed away during the crises. However, some local amateur kabuki groups have gradually started their activities and related local festivals have also been resumed with audiences in the second half of the year 2022. The author will analyze a local amateur kabuki, Ogano kabuki, raised since nearly 250 years ago in the mountain area of Chichibu district, Ogano, in terms of their efforts and solidarity to preserve their local culture, surviving the crises. Ogano kabuki can provide everything necessary for kabuki performances on their own including performers, properties and property staff, which is a strong advantage, compared to the other local amateur kabuki groups. Their advertisement and archives are well organized as well. A professional photographer and journalist, Yamaguchi Kiyofumi, immigrated to this town from Tokyo, and is responsible for taking photos on all the important events and practices, as the current town mayor’s advisor. Kosuge Mitsuo, professional painter, woodblock artist and sculptor, was born and raised in Ogano, and has contributed to Ogano kabuki by describing lots of their impressive kabuki scenes from the perspective of an original resident. Their products have been helpful to show interesting and attractive features of Ogano kabuki nationwide and they have also contributed to the archives.

Paper short abstract:

My talk will examine the online presence and performances of the duo Jarujaru. I will demonstrate how online comedy can change the form of comedy, but also the relationship between performers and audience – and the image they come to hold of comedians active and ever-accessible online.

Paper long abstract:

When lockdown first hit Japan, most comedians were unable to access their regular performance spaces. While television production resumed, following strict Corona protocols, performing in theatres or other venues in front of live audiences remained impossible for months. A number of comedians took their performances to the virtual world, setting up or re-kindling YouTube channels or taking advantage of streaming services offered by their comedy agencies. While this raised questions of monetisation, it also in some sense levelled the playing field for independent comedians who already found themselves regularly locked out from major television productions or events organised by big agencies. It also meant that comedians had to reconsider their material and experiment with different forms of audience interaction, sometimes posting recordings of past live shows, sometimes adapting material for the online setting, and sometimes coming up with entirely new routines for online delivery.

In 2022, even with the reopening of theatres, many comedians continue to take advantage of the new possibilities of their online presence. My talk will use the online presence and performances of the duo Jarujaru as a prime example, focusing on their successful YouTube channel and their other materials available online. I will demonstrate how online comedy can change the form of comedy, but also the relationship between performers and audience – and the image they come to hold of comedians active and ever-accessible online.