2 photographs of the same scene, commonly called 'Sushiya' from "Yoshitsune sembonzakura."
Comparing the 2 photographs, note the different posture of the hero, Gonta, in the center. Even though this is the same scene of the same work, why is there such a difference? This is because of the different Kata (forms).
Comparing the 2 photographs, note the different posture of the hero, Gonta, in the center. Even though this is the same scene of the same work, why is there such a difference? This is because of the different Kata (forms).
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Kata here means specific acting and dramatic techniques done by the understanding of the work and its roles. To identify each of these Kata, a Myoseki (family name), Yago (stage family name) of the actor who created the Kata, or the area where the Kata has been passed down, is prefixed; for example, "Kamigata no kata" (Kamigata form).
The photograph at right was taken when the play was performed using Kamigata (Kyoto and Osaka) Kata. In Kamigata Kata, emphasizing the regional characteristic of the location near the Yamato area [present Nara prefecture] in which the story is set, and using the setting of the original work, a Ningyo-joruri (puppet play), Gonta is performed with the understanding that he is "a rascal in Yamato." Therefore, Gonta speaks Kamigata kotoba (dialect spoken in and around Osaka and Kyoto), and the acting, costume and makeup are expressed in a clumsy way.
On the other hand, the photograph on the left shows the same play performed using Tokyo Kata. In Tokyo, this play is generally performed using Otowayagata (Otowaya form) refined by the Onoe Kikugoro of each generation. In this form, Gonta is performed by the understanding that he is edokko (trueborn Edo [present Tokyo] native). He speaks edoben (Edo dialect) and the acting is designed in all details including brisk movements, the pattern of his costume and how he ties his tenugui (Japanese towel) to show up Gonta as a smart-looking fellow. Based on the original work, it is not right to see Gonta as an edokko. The result of using the Otowayagata has been to establish Gonta as a character image familiar to the audiences in Edo and Tokyo.
Kata have been passed down through the relationships between parent and child and master and apprentice. The Kata used when performing a particular work are determined by individual actors (mainly by those in leading roles).
In this way, even for the same repertoire, various differences emerge when the Kata are different. Watching Kabuki performances while comparing the differences between Kata is one way to enjoy Kabuki.
The photograph at right was taken when the play was performed using Kamigata (Kyoto and Osaka) Kata. In Kamigata Kata, emphasizing the regional characteristic of the location near the Yamato area [present Nara prefecture] in which the story is set, and using the setting of the original work, a Ningyo-joruri (puppet play), Gonta is performed with the understanding that he is "a rascal in Yamato." Therefore, Gonta speaks Kamigata kotoba (dialect spoken in and around Osaka and Kyoto), and the acting, costume and makeup are expressed in a clumsy way.
On the other hand, the photograph on the left shows the same play performed using Tokyo Kata. In Tokyo, this play is generally performed using Otowayagata (Otowaya form) refined by the Onoe Kikugoro of each generation. In this form, Gonta is performed by the understanding that he is edokko (trueborn Edo [present Tokyo] native). He speaks edoben (Edo dialect) and the acting is designed in all details including brisk movements, the pattern of his costume and how he ties his tenugui (Japanese towel) to show up Gonta as a smart-looking fellow. Based on the original work, it is not right to see Gonta as an edokko. The result of using the Otowayagata has been to establish Gonta as a character image familiar to the audiences in Edo and Tokyo.
Kata have been passed down through the relationships between parent and child and master and apprentice. The Kata used when performing a particular work are determined by individual actors (mainly by those in leading roles).
In this way, even for the same repertoire, various differences emerge when the Kata are different. Watching Kabuki performances while comparing the differences between Kata is one way to enjoy Kabuki.
