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228 ：投球者：名無しさん[sage]：2012/06/05(火) 20:13:53.48 ID:q5mlVB/3 - In the 1840s, fires started terrorizing Edo due to repeated drought.
Kabuki theatres, traditionally made of wood, were constantly burning down, forcing their relocation within the ukiyo.
When the area that housed the Nakamura-za was completely destroyed in 1841, the shogun refused to allow the theatre to rebuild, saying that it was against fire code.
The shogunate did not welcome the mixing and trading that occurred between town merchants and actors, artists, and prostitutes.
The shogunate took advantage of the fire crisis in 1842 to force the Nakamura-za, Ichimura-za, and Kawarazaki-za out of the city limits and into Asakusa, a northern suburb of Edo.
Actors, stagehands, and others associated with the performances were forced out as well.
Those in areas and lifestyles centered around the theatres also migrated, but the inconvenience of the new location reduced attendance.[3]
These factors, along with strict regulations, pushed much of kabuki "underground" in Edo, with performances changing locations to avoid the authorities.
The theatres' new location was called Saruwaka-ch?, or Saruwaka-machi. The last thirty years of the Tokugawa shogunate's rule is often referred to as the Saruwaka-machi period.
This period produced some of the gaudiest kabuki in Japanese history.[3] The Saruwaka-machi became the new theatre district for the Nakamura-za, Ichimura-za and Kawarazaki-za theatres.
The district was located on the main street of Asakusa, which ran through the middle of the small city. The street was renamed after Saruwaka Kanzaburo, who initiated Edo kabuki in the Nakamura Theatre in 1624.[3]
European artists began noticing Japanese theatrical performances and artwork, and many artists (for example, Claude Monet) were inspired by Japanese wood block prints.
This Western interest prompted Japanese artists to increase their depictions of daily life including theatres, brothels, main streets and so on. One artist in particular, Utagawa Hiroshige,
did a series of prints based on Saruwaka from the Saruwaka-machi period in Asakusa.[3]
The relocation diminished the tradition's most abundant inspiration for costuming, make-up, and story line.
Ichikawa Kodanji IV was one of the most active and successful actors during the Saruwaka-machi period. Deemed unattractive, he mainly performed buy?,
or dancing, in dramas written by Kawatake Mokuami, who also wrote during the Meiji period to follow.[3] Kawatake Mokuami commonly wrote plays that depicted the common lives of the people of Edo.
He introduced shichigo-cho (seven-and-five syllable meter) dialogue and music such as kiyomoto.[3]
His kabuki performances became quite popular once the Saruwaka-machi period ended and theatre returned to Edo; many of his works are still performed.
In 1868, the Tokugawa shogunate fell apart. Emperor Meiji was restored to power and moved from Kyoto to the new capital of Edo, or Tokyo, beginning the Meiji period.[4]
Kabuki returned to the ukiyo of Edo. Kabuki became more radical in the Meiji period, and modern styles emerged. New playwrights created new genres and twists on traditional stories.
[edit] Kabuki after the Meiji period
| - 【やることなすこと】律子女史 ２投目【ガター】
229 ：投球者：名無しさん[sage]：2012/06/05(火) 20:15:03.26 ID:q5mlVB/3 - he November 1895 production of Shibaraku at Tokyo Kabukiza theater
Beginning in 1868 enormous cultural changes, such as the fall of the Tokugawa shogunate, the elimination of the samurai class, and the opening of Japan to the West, helped to spark kabuki's re-emergence.
As the culture struggled to adapt to the influx of foreign ideas and influence, actors strove to increase the reputation of kabuki among the upper classes and to adapt the traditional styles to modern tastes.
They ultimately proved successful in this regard?on 21 April 1887, the Meiji Emperor sponsored a performance.[9]
After World War II, the occupying forces briefly banned kabuki, which had strongly supported Japan's war since 1931;[10] however, by 1947 the ban had been rescinded.[11]
[edit] Kabuki today
The immediate post?World War II era was a difficult time for kabuki. Besides the war's physical devastation, many rejected the styles and thoughts of the past, kabuki among them.[12]
Director Tetsuji Takechi's popular and innovative productions of kabuki classics at this time are credited with bringing about a rebirth of interest in kabuki in the Kansai region.[13]
Of the many popular young stars who performed with the Takechi Kabuki, Nakamura Ganjiro III (b. 1931) was the leading figure.
He was first known as Nakamura Senjaku, and this period in Osaka kabuki became known as the "Age of Senjaku" in his honor.[13]
Today, kabuki is the most popular of the traditional styles of Japanese drama?and its star actors often appear in television or film roles.[14]
For example, the well-known onnagata Band? Tamasabur? V has appeared in several (non-kabuki) plays and movies, often in a female role. Kabuki appears in works of Japanese popular culture such as anime.
In addition to the handful of major theatres in Tokyo, Kyoto, and Osaka, there are many smaller theatres in Osaka and throughout the countryside.
The ?shika Kabuki troupe,[15] based in ?shika, Nagano Prefecture, is one example.[16]
Some local kabuki troupes today use female actors in onnagata roles.
The Ichikawa Kabuki-za, an all-female troupe, was formed after World War II but was short-lived. In 2003, a statue of Okuni was erected near Kyoto's Pontoch? district.
Interest in kabuki has spread in the West. Kabuki troupes regularly tour Europe and America, and there have been several kabuki-themed productions of canonical Western plays such as those of Shakespeare.
Western playwrights and novelists have experimented with kabuki themes, an example of which is Gerald Vizenor's Hiroshima Bugi (2004).
Writer Yukio Mishima pioneered and popularized the use of kabuki in modern settings and revived other traditional arts, such as Noh, adapting them to modern contexts.
The introduction of earphone guides in 1975, including an English version in 1982, helped broaden the art's appeal.
As a result, in 1991 the Kabuki-za began year-round performances and, in 2005, began marketing kabuki cinema films.[17]
In Australia, the Za Kabuki troupe at the Australian National University has performed a kabuki drama each year since 1976, the longest regular kabuki performance outside of Japan.
Kabuki was inscribed on the UNESCO Intangible Cultural Heritage Lists in 2005.
| - 【やることなすこと】律子女史 ２投目【ガター】
230 ：投球者：名無しさん[sage]：2012/06/05(火) 20:19:23.99 ID:q5mlVB/3 - Shibai Ukie ("A Scene from A Play") by Masanobu Okumura (1686?1764), depicting Edo Ichimura-za theater in the early 1740s
The kabuki stage features a projection called a hanamichi (花道; literally, flower path), a walkway which extends into the audience and via which dramatic entrances and exits are made.
Okuni also performed on a hanamichi stage with her entourage. The stage is used not only as a walkway or path to get to and from the main stage, but important scenes are also played on the stage.
Kabuki stages and theaters have steadily become more technologically sophisticated, and innovations including revolving stages and trap doors, were introduced during the 18th century.
A driving force has been the desire to manifest one frequenA number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations.
The term keren (外連), often translated playing to the gallery, is sometimes used as a catch-all for these tricks.
Hanamichi and several innovations including revolving stage, seri and chunori have all contributed to kabuki play. Hanamichi creates depth and both seri and chunori provide a vertical dimension.
Mawari-butai (revolving stage) developed in the Ky?h? era (1716?1735). The trick was originally accomplished by the on-stage pushing of a round, wheeled platform.
Later a circular platform was embedded in the stage with wheels beneath it facilitating movement. The kuraten (“darkened revolve”) technique involves lowering the stage lights during this transition.
More commonly the lights are left on for akaten (“lighted revolve”), sometimes simultaneously performing the transitioning scenes for dramatic effect. This stage was first built in Japan in the early eighteenth century.
Seri refers to the stage "traps" that have been commonly employed in kabuki since the middle of the 18th century. These traps raise and lower actors or sets to the stage.
Seridashi or seriage refers to trap(s) moving upward and serisage or serioroshi to traps descending. This technique is often used to lift an entire scene at once.
Ch?nori: Kunitar? Sawamura II as Kitsune Tadanobu (left) flying over the stage, in the August 1825 production of Yoshitsune Senbon Zakura
Ch?nori (riding in mid-air) is a technique, which appeared toward the middle of the 19th century, by which an actor’s costume is attached to wires and he is made to “fly” over the stage and/or certain parts of the auditorium.
This is similar to the wire trick in the stage musical Peter Pan, in which Peter launches himself into the air. It is still one of the most popular keren (visual tricks) in kabuki today; major kabuki theaters, such as the National Theatre,
Kabuki-za and Minami-za, are all equipped with ch?nori installations.[19]
Scenery changes are sometimes made mid-scene, while the actors remain on stage and the curtain stays open. This is sometimes accomplished by using a Hiki D?gu, or small wagon stage.
This technique originated at the beginning of the 18th century, where scenery or actors move on or off stage on a wheeled platform.
Also common are stagehands rushing onto the stage adding and removing props, backdrops and other scenery; these kuroko (黒子) are always dressed entirely in black and are traditionally considered invisible.
Stagehands also assist in a variety of quick costume changes known as hayagawari (quick change technique). When a character's true nature is suddenly revealed, the devices of hikinuki and bukkaeri are often used.
This involves layering one costume over another and having a stagehand pull the outer one off in front of the audience.
The trJidaimono, or history plays, were set within the context of major events in Japanese history.
| - 【やることなすこと】律子女史 ２投目【ガター】
231 ：投球者：名無しさん[sage]：2012/06/05(火) 20:20:09.80 ID:q5mlVB/3 - 金は続落。COMEX中心限月6月物は前営業日比-57.9ドルの1,614.1ドルで取引を終了した。取引レンジは1,613.0〜1,649.5ドル。
米国経済指標の改善や、欧州経済に対する根強い不安を元に対ドルでのユーロ安が進行。これにつられて金相場も大きく値を落とした。
この日発表された欧州中央銀行政策金利は１％にて据え置き。同行ドラギ総裁は引き続き景気見通しには下振れリスクがあるとの見解を示した。また、スペイン国債の入札がふるわなかったこともユーロ安の材料となった。
4日のプラチナは反落。中心限月7月物は前営業日比-61.9ドルの1,598.6ドルで取引を終了した。
ドル円相場は円高が進行。NY時間午後5時現在では前営業日比37銭円高・ドル安の82円46銭付近で取引されている。
NY株式市場は続落。ダウ工業株30種平均は前営業日比-124.80ドルの1万3,074.75ドルで取引を終了しCOMEX中心限月6月物は前営業日比-7.7ドルの1,672.0ドルで取引を終了した。
取引レンジは1,640.2〜1,682.7ドル。この日の立会い取引の引けまでは、レンジ内での静かな値動き。小幅にマイナスで取引を終了した。しかし、引け後に発表された3月のFOMC議事録を受けて急落。1,640ドル付近まで値を下げた。
3日のプラチナは続伸。中心限月7月物は前営業日比+5.6ドル高の1,660.5ドルで取引を終了した。
ドル円相場は円安が進行。NY時間午後5時現在では前営業日同時刻比76銭円安・ドル高の82円83銭付近で取引されている。 NY株式市場は反落。ダウ工業株30種平均は前営業日比-64.94ドルの1万3,199.55ドルで取引を終了した。
| - 【やることなすこと】律子女史 ２投目【ガター】
232 ：投球者：名無しさん[sage]：2012/06/05(火) 20:28:17.20 ID:q5mlVB/3 - メンヘル無職毒男を支えてくれる女性はいるのか？
http://engawa.2ch.net/test/read.cgi/sfe/1302355854/l50
| - 【やることなすこと】律子女史 ２投目【ガター】
233 ：投球者：名無しさん[sage]：2012/06/05(火) 20:28:47.97 ID:q5mlVB/3 - ３０代は欲求不満
http://engawa.2ch.net/test/read.cgi/sfe/1308395267/l50
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234 ：投球者：名無しさん[sage]：2012/06/05(火) 20:29:16.48 ID:q5mlVB/3 - 最近長身美人とチビ男の組み合わせ多いよね
http://engawa.2ch.net/test/read.cgi/sfe/1220958642/l50
| - 【やることなすこと】律子女史 ２投目【ガター】
235 ：投球者：名無しさん[sage]：2012/06/05(火) 20:29:42.82 ID:q5mlVB/3 - なんで男の方が性犯罪率高いか分かるか？
http://engawa.2ch.net/test/read.cgi/sfe/1241145809/l50
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