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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.