Kabuki: The people's dramatic art - Amanda Mattes

Kabuki: Ljudska dramska umetnost - Amanda Mattes

Translator: Nika Kotnik Reviewer: Andreja Benčina

Many elements of traditional Japanese culture,

Veliko elementov tradicionalne japonske kulture,

such as cuisine

kot so kuhinja in borilne veščine,

and martial arts,

are well-known throughout the world.

so dobro poznane po celem svetu.

Kabuki, a form of classical theater performance,

Kabuki, oblika klasičnega odrskega nastopa,

may not be as well understood in the West

morda na Zahodu ni tako dobro razumljena,

but has evolved over 400 years

a se je razvijala več kot 400 let,

to still maintain influence and popularity to this day.

da je ohranila vpliv in priljubljenost do današnjega dne.

The word Kabuki is derived

Beseda kabuki izhaja iz japonskega glagola kabuku,

from the Japanese verb kabuku,

meaning out of the ordinary or bizarre.

kar pomeni nenavadno ali bizarno.

Its history began in early 17th century Kyoto,

Njegova zgodovina se je začela v Kjotu v zgodnjem 17. stoletju,

where a shrine maiden named Izumo no Okuni

ko je svečenica Izumo no Okuni

would use the city's dry Kamo Riverbed as a stage

uporabila suho strugo reke Kamo kot oder,

to perform unusual dances for passerby,

na katerem je izvajala nenavadne plese za mimoidoče,

who found her daring parodies of Buddhist prayers

ki so se jim zdele njene parodije budističnih molitev

both entertaining and mesmerizing.

obenem zabavne in hipnotične.

Soon other troops began performing

Kmalu so tudi drugi pričeli nastopati v istem stilu

in the same style,

and Kabuki made history

in kabuki se je zapisal v zgodovino

as Japan's first dramatic performance form

kot prva oblika japonskega dramskega nastopa,

catering to the common people.

namenjenega preprostim ljudem.

By relying on makeup, or keshou,

Z ličili oziroma keshou in izrazi na obrazu namesto mask

and facial expressions instead of masks

and focusing on historical events

ter z osredotočanjem na zgodovinske dogodke

and everyday life rather than folk tales,

in vsakodnevno življenje namesto na ljudske zgodbe,

Kabuki set itself apart

se je kabuki razlikoval od plesnega dramskega nastopa višjega razreda

from the upper-class dance theater form

known as Noh

znanega kot Noh,

and provided a unique commentary on society

in priskrbel unikaten komentar na družbo med obdobjem Edo.

during the Edo period.

At first, the dance was practiced only by females

Sprva so plesale samo ženske

and commonly referred to as Onna-Kabuki.

in rekli so mu Onna-Kabuki.

It soon evolved to an ensemble performance

Kmalu se je razvil v skupinski nastop

and became a regular attraction at tea houses,

in postal redna atrakcija v čajnicah,

drawing audiences from all social classes.

ki je pritegnila gledalce iz vseh slojev.

At this point, Onna-Kabuki was often risque

Na tej točki je bil Onna-Kabuki pogosto tvegan, saj so gejše nastopale ne le,

as geishas performed not only to show off

da so razkazovale svoje pevske in plesne veščine,

their singing and dancing abilities

but also to advertise their bodies to potential clients.

ampak tudi da so oglaševale svoja telesa potencialnim strankam.

A ban by the conservative Tokugawa shogunate

Ko je konzervativni šogunat Tokugawa leta 1629 kabuki prepovedal,

in 1629

led to the emergence of Wakashu-Kabuki

je nastal Wakashu-Kabuki,

with young boys as actors.

kjer so bili igralci mladi fantje.

But when this was also banned for similar reasons,

Ampak kmalu so ga iz podobnih razlogov prepovedali

there was a transition to Yaro-Kabuki,

in prešli so na Yaro-Kabuki,

performed by men,

kjer so nastopali moški, ki so potrebovali izpopolnjene kostume in ličila

necessitating elaborate costumes and makeup

for those playing female roles,

za nastopajoče v ženskih vlogah, ali onnagata.

or onnagata.

Attempts by the government to control Kabuki

Poskusi vlade, da bi nadzorovala Kabuki, se niso končali s prepovedmi glede spola

didn't end with bans on the gender

or age of performers.

ali starosti nastopajočih.

The Tokugawa military group,

Tokugawino vojaško organizacijo, imenovano Bakufu,

or Bakufu,

was fueled by Confucian ideals

so gnali konfucijanski ideali in večkrat so sprejeli sankcije

and often enacted sanctions

on costume fabrics,

glede blaga kostumov, odrskega orožja in teme predstave.

stage weaponry,

and the subject matter of the plot.

At the same time,

Hkrati je na Kabuki vplival in se z njim povezal Bunraku,

Kabuki became closely associated with

and influenced by Bunraku,

an elaborate form of puppet theater.

zapletena oblika lutkovnega gledališča.

Due to these influences,

Zaradi teh vplivov se je ta, nekoč spontan ples v enem dejanju,

the once spontaneous, one-act dance

evolved into a structured, five-act play

razvil v strukturirano igro s petimi dejanji,

often based on the tenets of Confucian philosophy.

ki je večkrat temeljila na načelih konfucijanske filozofije.

Before 1868, when the Tokugawa shogunate fell

Do leta 1868, ko je padel šogunat družine Tokugawa

and Emperor Meiji was restored to power,

in je cesar Meiji ponovno prevzel oblast,

Japan had practiced isolation from other countries,

je bila Japonska načrtno izolirana od drugih držav,

or Sakoku.

praksa imenovana Sakoku.

And thus, the development of Kabuki

In zato so razvoj kabukija večinoma oblikovali domači vplivi.

had mostly been shaped by domestic influences.

But even before this period,

Ampak celo pred tem obdobjem

European artists, such as Claude Monet,

je evropske umetnike, kot na primer Clauda Moneta,

had become interested in

začela zanimati in navdihovati Japonska umetnost,

and inspired by Japanese art,

such as woodblock prints,

na primer tisk na les,

as well as live performance.

pa tudi živi nastopi.

After 1868, others such as Vincent van Gogh

Po letu 1868 so tudi ostali, na primer Vincent van Gogh

and composer Claude Debussy

in skladatelj Claude Debussy,

began to incorporate Kabuki influences in their work,

začeli vključevati vplive kabukija v svoja dela,

while Kabuki itself underwent

medtem ko je kabuki sam doživel mnogo sprememb in eksperimentiranja,

much change and experimentation

to adapt to the new modern era.

da se je prilagodil novemu modernemu obdobju.

Like other traditional art forms,

Kot drugim tradicionalnim oblikam, je kabukiju upadla priljubljenost

Kabuki suffered in popularity

in the wake of World War II.

zaradi druge svetovne vojne.

But innovation by artists

Ampak inovacije umetnikov, kot je bil režiser Tetsuji Takechi,

such as director Tetsuji Takechi

led to a resurgence shortly after.

so kmalu zatem vodile v ponoven porast.

Indeed, Kabuki was even considered

Pravzaprav so imeli kabuki za priljubljeno obliko zabave

a popular form of entertainment

amongst American troops stationed in Japan

med ameriškimi vojaki na Japonskem,

despite initial U.S. censorship

kljub prvotni cenzuri Japonskih tradicij s strani ZDA.

of Japanese traditions.

Today, Kabuki still lives on

Danes kabuki še vedno živi naprej

as an integral part of Japan's rich cultural heritage,

kot neločljiv del bogate japonske kulturne dediščine,

extending its influence beyond the stage

in je razširil svoj vpliv preko odra

to television,

do televizije, filma in animejev.

film,

and anime.

The art form pioneered by Okuni

Oblika umetnosti, ki jo je začela Okuni,

continues to delight audiences

še naprej razveseljuje občinstvo

with the actors' elaborate makeup,

z izpopolnjenimi ličili igralcev,

extravagant and delicately embroidered costumes,

ekstravagantnimi in natančno izvezenimi kostumi,

and the unmistakable melodrama

in nezmotljivo melodramo zgodb povedanih na odru.

of the stories told on stage.