The Cambridge Guide to Asian Theatre divides the history of modern theatre into five periods: "1887-1928, the establishment of a modern theatre 1928-45, the political and orthodox modernism 1960-73, the rejection of modernism and 1973 to the present, diversification" (Brandon 1993, 153). It was not until the development of shingeki ("new theatre") that a truly modern theatre managed to completely rupture from traditional forms, and base its theatre solely on Western models of acting and playwriting. Ultimately, however, the shimpa movement also failed to develop into a widely accepted modern theatre. Shimpa introduced many modern theatre elements, including actresses, new ticketing systems, and shorter, evening performances. Their company toured the United States and Europe from 1899 to 1901, providing the first performances of modern Japanese theatre in the West. Kawakami Otojiro, one of the first and arguably one of the most successful shimpa artists, along with his wife Sadayakko, adapted Shakespeare, performed often highly patriotic, imperialistic docudramas, and wrote original plays. Shimpa ("New School") was ultimately a transitional form (though it still exists today), which used Western plays as models to develop a melodramatic and romanticized theatre performed by a combination of kabuki performers and amateur actors. The next wave of modern theatre moved to break further with the traditional theatre. This form, however, was not a success and the kabuki itself began to crystallize into the contemporary manner of performance.
Eventually these efforts resulted in a new form: shin-kabuki ("new kabuki"), with plays written by literary figures such as Tsubouchi Shoyo and Okamoto Kido. Beginning in 1870, attempts were made to reform the kabuki, making it more contemporary in both subject matter and construction.
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Thomas Rimer argues, two conflicting ideas of how to modernize the theatre evolved in the face of the modernization of the rest of Japanese culture: the modernization of traditional theatre versus the development of a new theatre based on Western models (1974: 11-12). The cultural, economic, and political changes in the nation fundamentally altered the traditional theatres of no, kyogen, kabuki, and bunraku and challenged Japanese conceptions of the theatre.Īs J.
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He was seen as an icon for Japanese youth rebelling against their country's conformist society, and his death was labeled "the end of an era".A Brief History of Modern Japanese TheatreĪfter the Meiji Restoration and the opening of Japan to the West, the Japanese theatre underwent a series of transformations. At the height of his fame, while recording his third studio album and about to launch an international career with the newly formed Zilch, he died in 1998 of what was ruled a suicide by hanging. When they disbanded in 1997, he focused on his solo career which started four years prior and went on to enjoy significant popularity. X Japan rose to prominence in the late 1980s and early 1990s, credited as founders of the Japanese visual kei movement. Hide sold millions of records, both solo and as a member of X Japan. He also formed the United States-based rock supergroup Zilch in 1996. He was the lead guitarist of the rock band X Japan from 1987 to 1997 and a solo artist from 1993 onward. Hideto Matsumoto (Japanese: 松本 秀人, Hepburn: Matsumoto Hideto, Decem– May 2, 1998), also known as hide, was a Japanese musician, singer-songwriter and record producer. Hide, Japanese singer-songwriter, guitarist, and producer (b.
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