From Gay to Gei: The Onnagata and the Creation of Kabuki's Female Characters
From Gay to Gei: The Onnagata and the Creation of Kabuki's Female Characters
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从同性恋到艺:女形与歌舞伎女性角色的创造
DOI:
10.1353/cdr.1999.0015
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发表时间:
2016
期刊:
影响因子:
--
通讯作者:
Samuel L. Leiter
中科院分区:
文献类型:
--
作者:
Samuel L. Leiter
At the time, Japanese urban culture was largely under the influence of Confucian ethics and Buddhist religious practice, both being antifemale systems. Whereas, despite endemic misogyny, ancient and medieval Japan had many women of accomplishment, such women were exceedingly rare during the Tokugawa period (also called the Edo period, 1603-1868). Women of the time may have been more socially and commercially active than is commonly supposed,1 but it is clear that Tokugawa women were, by and large, second-class citizens. People were to behave in this world according to their given place in it. When the dictatorial military government, the bakufu, determined that kabuki' s women had overstepped their bounds, it banned them from the stage. In 1652, it did the same to the youths in the homosexual boys' kabuki, which replaced the women, and who were eliminated for much the same reasons. Kabuki would have died had not increasingly believable instead of merely pretty female characters begun to appear in the mature male kabuki that emerged in the 1650s and took its first important artistic steps in the following decade. At this point, kabuki witnessed a transition from gay theater to gei theater, gei being Japanese for art, including acting art. Only actors past their adolescence could perform and they were forced by law to reduce their physical attractiveness, principally by shaving off the beautifully coifed forelocks that boys wore before celebrating their accession to adult status.