Kabuki in Japanese Proletarian Theatre

Abstract

In this essay I will show the response, the appreciation, and the reception of Kabuki by the Japanese proletarian theatre and profile the performances. Although the close relationship between Shin-geki and Kabuki has been pointed out in previously published articles, Kabuki's association with the proletarian theatre has rarely been discussed before. We can clarify a more authentic view of art in the proletarian theatre, where theatre artists advocated the “revolution”, by comparing it with more traditional Japanese theatres.

First, the Japanese proletarian artists' references and criticisms on Kabuki will be represented. Secondly, I will examine Kurahara Korehito's view of the art form and his influence which stimulated the proletarian theatre artists to pay attention to Kabuki. Finally, the performances by the Taishuza, the company composed of Kabuki actors, will be analyzed, and these arguments will prove the following conclusion: The proletarian theatre consciously and deliberately adopted the other genres of theatres, including Kabuki and Ken-geki. This paper will modify the earlier view of the proletarian theatre and encourage us to reconsider the position of the proletarian theatre in the entire history of Japanese theatre.