In the second half of the Showa period, the generation of actors who had been extremely active after the war developed mature stage performances, mainly in classical Kabuki. On the other hand, a new movement in which the next generation of actors was coming to the fore started to be seen.
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In 1985, Kabuki performances were held in the Kanamaru-za, the oldest theater in Japan [built in 1835] which still stands in Kotohira-cho, Kagawa prefecture. Audiences can enjoy the atmosphere of theatergoing in the Edo period by the lighting effects based on natural light, masuseki (box seats) from which audience members can feel close to the stage themselves, and the revolving stage moved by manpower, etc. That achieved great popularity, and since then, Kabuki performances in the Kanamaru-za every year have become the usual practice.
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Performances to introduce the succession of Ichikawa Danjuro 12th were held in the same year, and were also performed overseas, becoming a subject of conversation.
In 1986, Ichikawa Ennosuke 3rd performed "Yamato Takeru," a "Super Kabuki" making full use of the newest techniques of stage art, costumes, sound effects and lighting, etc., while incorporating Kabuki methods. This performance was accepted by people who differed from previous Kabuki fans. Since then, new "Super Kabuki" works have been performed one after another.
Due to the influence of such currents, there are active movements that go beyond the previous framework, such as the performance of new works by the cooperation of writers of modern plays and producers, and performances are being held in theaters other than those used exclusively for Kabuki. Kabuki is being enjoyed by a wider range of audiences than ever before.
In 1986, Ichikawa Ennosuke 3rd performed "Yamato Takeru," a "Super Kabuki" making full use of the newest techniques of stage art, costumes, sound effects and lighting, etc., while incorporating Kabuki methods. This performance was accepted by people who differed from previous Kabuki fans. Since then, new "Super Kabuki" works have been performed one after another.
Due to the influence of such currents, there are active movements that go beyond the previous framework, such as the performance of new works by the cooperation of writers of modern plays and producers, and performances are being held in theaters other than those used exclusively for Kabuki. Kabuki is being enjoyed by a wider range of audiences than ever before.
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