宝塚の舞台化粧論

──『ベルサイユのばら』におけるジェンダー表象を中心に──

抄録

The Takarazuka Revue Company, comprising solely of unmarried women, utilizes a distinctive stage makeup characterized by false eyelashes, vibrant eye shadow, and lipstick. Previous studies have highlighted how this elaborate makeup accentuates the inherent femininity of otokoyaku, that is, women who portray male roles on stage. This paper delves into two pivotal moments in the evolution of stage makeup among Takarazuka Revue performers and explores its significance. The first watershed moment occurred before World War II with the transition from traditional white-face makeup to modern makeup techniques introduced in the 1930 Revue show “Parisette,” which embraced bare skin and laid the groundwork for contemporary stage makeup. This shift symbolized an embrace of modern Western aesthetics, expanded the expressive possibilities, and signaled a departure from youthful girlishness. In the postwar era, the makeup at Takarazuka underwent further unique transformations, diverging from Western styles. A notable milestone came in 1974 with Takarazuka's adaptation of the girls' comic “The Rose of Versailles,” marking a significant departure from realism. This paper aims to unravel the historical significance of stage makeup and offers a reevaluation of the Takarazuka Revue Company through the lens of its makeup evolution.