CAPITAL
OF
ARAB
CULTURE
2012
38th Annual Fine Arts Exhibition
Paris
until 15 July
Aurélie Samuel
Exhibition designer:
Christophe Martin
Woman’s ceremonial costume (uchikake) decorated with weeping cherry tree blossoms and the drum
worn by the character, Miuraya Agemaki, in the production, Sukeroku Yukari no Edo Zakura (Sukeroku, The Flower of Edo)
Japan, 1980s
Silk crepe with red embroidery and gold thread – 175 x 160 cm
© Shôchiku Costume Co, Ltd, Tokyo
to Japanese theatre costumes, known as the Kabuki. The costumes from the
Shôchiku Costume, accompanied by accessories, engravings, photographs and
documentary footage, serve to illuminate a traditional dramatic art which emerged in
Japan in the seventeenth century. The Fondation’s exhibition of Kabuki costumes is
the first of its kind ever held in Paris.
Woman’s ceremonial costume (uchikake) decorated with motifs from the Japanese New Year (kadomatsu, or ‘pine tree of the threshold,’ and shimekazari, ‘decorative rope’)
and worn by the character, Miuraya Agemaki, in the production, Sukeroku Yukari no Edo Zakura (Sukeroku, The Flower
of Edo) Japan, 1970
Embroidered satin silk and gold thread – 175 cm x 160 cm
©Shôchiku Costume Co, Ltd, Tokyo
a form of dramatic art very popular in Japan. The displayed pieces are on loan for
the occasion from the Japanese company, Shôchiku Costume, founded in 1895 by
the Otani brothers to produce Kabuki plays.
The costumes are still regularly worn by actors, and the choice of pieces displayed
in the exhibition is therefore partly dictated by the current theatrical calendar. The
contemporary nature of the displayed costumes and their accessories permits us to
understand not only the traditional heritage from which Kabuki theatre derives, but
also the art of Kabuki as it is practiced today.
Engraving. Performance by Kabuki actors posed in imitation of sumo wrestlers
Print on paper
©Shôchiku Costume Co, Ltd, Tokyo
beginning of the Edo period (1603 - 1868). The word Ka-bu-ki is composed of
three ideograms known as ateji (characters used solely for their phonetic value) and
signifying, respectively, singing (ka), dancing (bu) and technical virtuosity
or orchestration of movement (ki). It is believed that Kabuki is a variation of the
verb, ‘kabuku’ (to contort oneself or to conduct oneself in a gregarious manner),
and it refers to a style of theatre once considered avant-garde as well as to the
expressionist body movements of the actors.
Kabuki is theatrical entertainment in which the fantastical combines with the
artistry of the actor. Kabuki is distinguished from other dramatic genres by specific
characteristics, notably keshô (a type of make-up, of varying extravagance),
striking costumes, body movements, specific poses, such as mie, music, dancing,
and a particular repertoire and orchestration of movements, as well as complex
scenographic devices incorporating traps, revolving stages and the hanamichi, a
footbridge which is hoisted into the midst of the audience.
The repertoire of plays spans a variety of themes and includes pieces written
specifically for the Kabuki as well as those adapted from nô theatre, traditional
narratives and, above all, the bunraku. The plays fall into three categories: plays
with historical themes (Jidai mono), plays dealing with everyday life
(Sewa mono) and segments of dancing (Shosagoto).
Kabuki theatre productions, focusing principally on historical themes and moral
conflicts linked to emotional relationships, are performed exclusively by men. Since
the law of 1629 barring women from the stage in the interest of public morality, male
actors, known as onnagata, play female roles as realistically as possible. In 1652, the
authorities decided that only men of mature age could play female roles. Repeated
interdictions have shaped the fundamental characteristics of Kabuki and guided its
transformation into a “classical” dramatic style in its own right.
Technical mastery and rigorous training are necessary, and actors specialise in a
particular style of movement (kata in Japanese). Kata is specifically defined by vocal
technique and by physical actions, but can also encompass make-up, costumes,
music and scenery.
One of the singularities of Kabuki dramatic movement is the practice of mie ,
in which the actor pauses, assuming an emphatic pose intended to emphasize a
crucial moment in the play.
The characters in Kabuki manifest Manichean qualities and are never ambiguous.
Their positions in the play are clearly defined and easily recognizable through the
medium of certain codes identifiable as soon as they set foot on the stage.
Historically, a play frequently took place over the course of one whole day. The
public attended the performance while eating and chatting. The rhythm of
contemporary life does not allow a Toshi Kyôgen, meaning ‘to perform a play in its
entirety.’ Today plays are very rarely performed in their entirety and are generally
composed of one or two acts from a much longer text, commonly known as midori,
a term originating from Yoridori midori, or ‘you can choose your preference.’
Currently one of the major genres of Japanese live performing art, UNESCO added
the practice of Kabuki to the list of Masterpieces of the Oral and Intangible Heritage
of Humanity in 2005.
Short coat (haori) and blue kimono (sitsuke) with octopus and shell decoration
worn by the character, Kashima Nyudo Shinsai, in the production, Shibaraku (Stop a Moment!)
Japan, 1980s
Pongee (silk with an uneven weave) with painted and printed
silk crepe – 175 cm x 160 cm
©Shôchiku Costume Co, Ltd, Tokyo
Kabuki costumes tend to be extravagant, sumptuous and colourful, contributing to
the flamboyance of the spectacle.
Historically, it was forbidden to imitate the clothing
style of the noble classes or to use a similar
production process in the fabrication of Kabuki
costumes. Alternative significations, such as
certain disproportions and exaggerations, indicate
a character’s importance or status.
Nevertheless, aside from their visual power and
their great beauty, the costumes contain various
hints revealing the personality of the character.
In accordance with precise rules, the costumes
play a vital role in the audience’s understanding
of the performance. Each role is associated with
a particular style, certain motifs, colours, makeup
and accessories, which allow the spectator
to immediately identify the personality of the
character, his social status, his situation or his
age. By facilitating his transformation into the
character, the costume is similarly instrumental to
the technique of the actor. The ornamentation,
texture and shape of Kabuki costumes even have
an impact on the physical movement of the actor,
restraining him or triggering a particular gesture
that becomes specific to the role.
Kimono (kitsuke) with floral motifs and coats of arms belonging to noble families (mon)
worn by the character, Murasaki-no-Ue (one of the wives of Genji),
in the production, Genji monogatari (The Tale of the
Genji) Japan, 1990s
Patterned silk taffeta – 175 cm x 160 cm
©Shôchiku Costume Co, Ltd, Tokyo
Curtain from the production, Genji monogatari (The Tale of the Genji) Japon, 2005
Silk and synthetic fibers, painted wood, brass
236 cm x 153.5 cm
©Shôchiku Costume Co, Ltd, Tokyo
Pair of sabers belonging to the character, Nagoya Sanza, in the production, Saya-ate (The Rivals) Japan, 2005
Sheath: lacquered wood, gold decorations, shark skin; Blade: oak covered in pewter
Silk, metal ornament - Big saber, 101.5 cm x 7.8 cm; Small saber, 79 cm x 7 cm
©Shôchiku Costume Co, Ltd, Tokyo
Parasol belonging to one of the main characters in the production, Aoto Zoshi Hana no Nishikie (Five Men of the White Waves) Japan, 2006
Bamboo, painted Japanese paper – 89.5 cm x 125 cm
©Shôchiku Costume Co, Ltd, Tokyo
Pair of shoes (geta)
worn by the character, Miuraya Agemaki, in the production, Sukeroku Yokari no Edo Zakura (Sukeroku, The Flower of Edo)
Japan, 2008
Igusa rushes, lacquered paulownia wood, velvet – 16.5 cm x 8 cm x 13.5 cm
©Shôchiku Costume Co, Ltd, Tokyo
Fan belonging to the character, Tarokaja, in the production, Migawari zazen (The Zen Substitute) Japan, 2010
Bamboo, painted Japanese paper, silver leaf, aluminium – 29 cm
©Shôchiku Costume Co, Ltd, Tokyo
The exhibition is divided in three parts. The first displays costumes belonging to
iconic Kabuki plays, the second, to costumes used for dance scenes and the last
will be devoted to costumes manifesting certain special features.
THE ICONIC COSTUMES
The selection includes the principal costumes from five of the most famous Kabuki
theatre performances. Here we find a wide variety of fabrics and shapes, from the
most sumptuous and richly embroidered silk kimonos to more modest costumes in
rugged, tinted canvas and superb pieces in painted silk.
One of the most imposing pieces displayed is without a doubt the spectacular
cotton costume worn by the hero of the play, Shibaraku. The play is among the most
popular in the Kabuki repertoire and is included in the “Juhachiban”, a selection
composed by actor Ichikawa Danjûrô VII and comprising eighteen Kabuki plays
considered to be major works.
The costume of Kamakura Gonguro, hero around which the plot swirls, is called suô,
and his defining characteristic is embodied in his disproportioned sleeves, between
which is nestled the square-shaped mimasu, coat of arms (mon) of the family of
the great actor, Ichikawa Danjûrô. It is largely due to this particular trait that the
audience is able to immediately identify the character. It is a fantastical costume
and the largest of its kind.
THE DANCE COSTUMES
Kabuki has been associated with dance since the 17th century and a Kabuki theatre
program nearly always includes a choreographed segment. The choreography can
be integrated into the storyline when a character in the play permits it, a courtesan
for instance, or as a serious or comic connecting interval, or even as a shosagoto,
a dancing performance spotlighting the beautiful movements of the dancer. The
performance style comprises three distinct styles of dance: odori, mai and furi.
In Kabuki performances, the dancer sometimes appears alone, sometimes
surrounded by an imposing ballet troupe, while thirty or forty musicians and singers,
aligned on a platform at the back of the stage, provide the musical accompaniment.
However, most dances are solos, reserved for main characters.
Because the dances are adaptations of nô and of kyôgen, the costumes are often
sumptuous and richly ornamented.
The costumes used for the dances are usually extravagant and adorned with
extremely detailed patterns.
SINGULAR COSTUMES
The last part consists of five costumes chosen for their
special features. Alongside older costumes which
have not been worn for the past decade, we find the
kamishimo, typically used by the samouräi in the jidai
mono, or even a kimono made from a material not
often used in clothing: paper.
The paper kimono, known as a kamiko (literally,
‘item of clothing made of paper’), is worn in the
performance, Kuruwa Bunsho (Love Letters from
the Pleasure Quarters), by the character of Fujiya
Izaemon. Reduced to poverty, the character is dressed
in a kimono made of sewn together love letters. The
kamiko, symbol of sorrow linked to the loss of money
and social status, is easily recognizable by its patterns
of kanji written in calligraphy and by its bicoloured
(black and lilac) hues. It is specifically used for the
roles of nimaime, meaning ‘young, handsome lovers,’
played in the wagoto style.
It is extremely rare to see a real kamiko on the stage
today. These days, the costume is frequently stylized
and is no longer made entirely of paper, but rather
fabricated in black satin or silk crepe, on which
fragments of love letters are embroidered in gold or
silver thread.
Aurélie Samuel, exhibition curator
Aurélie Samuel is an art historian and a specialist in Asian decorative arts.
After working for five years as Curator of the Japanese Collection at the Musée
Guimet in Paris, she is now Head Curator of Textiles at the museum.
Aurélie Samuel also curated the exhibitions, Au Fil du Dit du Genji - Hommage à
Maître Yamaguchi in 2009, Costumes d’Enfants, Miroir des Grands at the Musée
Guimet in 2010 and Enfants de Chine, Petit Tigres et Jeunes Dragons on display at
the Musée des Arts asiatiques in Nice until May 15, 2012.
Christophe Martin, exhibition designer
Trained as an architect, but interested in the theatre from a young age, Christophe
Martin has made nomadic or ephemeral architecture his specialty.
His concepts have found fertile ground through various projects he has completed
for the cultural space of the Galeries Lafayette. At the same time, he displays
his talent for scenography in other architectural domains, such as habitations, art
galleries and offices, the latter notably including the Education Department at the
UNESCO headquarters in Paris.
French singer Patricia Kaas asked him to construct a stage set for her world tour,
Kabaret, in 2010-2011.
In 2005, Pierre Bergé commissioned him to design the space for the exhibition, Yves
Saint Laurent Smoking Forever, at the Fondation Pierre Bergé - Yves Saint Laurent.
Christophe Martin has worked on many other exhibitions for the Fondation and
most recently he oversaw the general renovation, conversion into a museum space,
and of course, the scenography of the Berber Museum at the Jardin Majorelle in
Marrakech.