Kabuki: The people's dramatic art - Amanda Mattes

歌舞伎：庶民的戲劇藝術 — 雅曼‧達瑪提 (Amanda Mattes)

譯者: Tiffany Wu 審譯者: Regina Chu

Many elements of traditional Japanese culture,

許多傳統的日本文化

such as cuisine

例如美食

and martial arts,

與武術

are well-known throughout the world.

皆聞名於世

Kabuki, a form of classical theater performance,

歌舞伎，經典戲劇表演的一種形式

may not be as well understood in the West

雖然在西方世界中沒有相當的名氣

but has evolved over 400 years

但它早已發展逾四百年

to still maintain influence and popularity to this day.

且依然保持影響力與聲譽直至今日

The word Kabuki is derived

歌舞伎一詞

from the Japanese verb kabuku,

源於日文動詞「傾」

meaning out of the ordinary or bizarre.

含有與眾不同或怪誕不經之意

Its history began in early 17th century Kyoto,

它的歷史可追溯到 17 世紀初期的京都

where a shrine maiden named Izumo no Okuni

當時出雲有一名巫女「阿國」

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

將乾涸的鴨川河河床作為舞台

to perform unusual dances for passerby,

為路人表演與眾不同的舞蹈

who found her daring parodies of Buddhist prayers

她大膽模仿念佛的樣子

both entertaining and mesmerizing.

非常有趣且令人難以忘懷

Soon other troops began performing

不久後，表演團體紛紛效仿

in the same style,

阿國的舞蹈風格

and Kabuki made history

於是歌舞伎永垂青史

as Japan's first dramatic performance form

成為日本戲劇史上第一個

catering to the common people.

迎合普羅大眾的舞蹈表演

By relying on makeup, or keshou,

藉由化妝（日文稱 keshou）

and facial expressions instead of masks

與豐富的臉部表情以代替面具

and focusing on historical events

其劇情著重於歷史事件

and everyday life rather than folk tales,

與日常生活，而非民間故事

Kabuki set itself apart

歌舞伎不同於

from the upper-class dance theater form

上流社會的舞蹈劇場

known as Noh

或稱「能劇」

and provided a unique commentary on society

歌舞伎體現了

江戶時代的社會風貌

during the Edo period.

At first, the dance was practiced only by females

一開始，歌舞伎只有女性舞者

and commonly referred to as Onna-Kabuki.

所以通常被稱為「女歌舞伎」

It soon evolved to an ensemble performance

後來歌舞伎演變成團體表演

and became a regular attraction at tea houses,

而且變成茶室的固定節目

drawing audiences from all social classes.

吸引了來自不同社會階級的觀眾

At this point, Onna-Kabuki was often risque

此時，歌舞伎常兼營風俗行業

as geishas performed not only to show off

藝伎不僅是單純表演

their singing and dancing abilities

歌唱及舞蹈

but also to advertise their bodies to potential clients.

還有展現姿色，吸引潛在顧客之意

A ban by the conservative Tokugawa shogunate

1629 年，保守的德川幕府

下了女歌舞伎的禁令

in 1629

led to the emergence of Wakashu-Kabuki

於是「若眾歌舞伎」應運而生

with young boys as actors.

改用年輕男孩表演

But when this was also banned for similar reasons,

但後來也因為類似因素被禁止了

there was a transition to Yaro-Kabuki,

之後演變成了「野郎歌舞伎」

performed by men,

由成年男性表演

necessitating elaborate costumes and makeup

因此需要戲服與濃妝

for those playing female roles,

裝扮飾演女性角色、

or onnagata.

或日語「女形」的演員

Attempts by the government to control Kabuki

政府管理歌舞伎的措施

didn't end with bans on the gender

並不僅限於限制

or age of performers.

表演者的性別與年齡

The Tokugawa military group,

德川政府

or Bakufu,

或稱德川幕府

was fueled by Confucian ideals

深受儒家學說教化

and often enacted sanctions

因此常常頒布法令

on costume fabrics,

規定戲服布料

stage weaponry,

表演道具

and the subject matter of the plot.

及故事情節的題材

At the same time,

同時

Kabuki became closely associated with

歌舞伎也與「文樂」

and influenced by Bunraku,

密切關聯且互相影響

an elaborate form of puppet theater.

文樂是一種精緻化的木偶劇場

由於上述因素

Due to these influences,

the once spontaneous, one-act dance

歌舞妓由曾經即興的獨幕劇

evolved into a structured, five-act play

轉變為有完整結構的五幕表演

often based on the tenets of Confucian philosophy.

且故事通常基於孔子的哲學思想

Before 1868, when the Tokugawa shogunate fell

1868 年以前，德川幕府尚未

and Emperor Meiji was restored to power,

大政奉還予明治天皇

Japan had practiced isolation from other countries,

日本限制對外交流與貿易

or Sakoku.

或稱「鎖國政策」

And thus, the development of Kabuki

因此，歌舞伎的發展

had mostly been shaped by domestic influences.

主要受到日本國內文化影響

But even before this period,

但在更早之前

European artists, such as Claude Monet,

歐洲的藝術家，例如克洛德．莫內

had become interested in

早已對日本藝術

and inspired by Japanese art,

深感興趣且獲得啟發

such as woodblock prints,

來源於浮世繪

as well as live performance.

和戲劇表演等藝術

After 1868, others such as Vincent van Gogh

1868 年後，其他藝術家例如梵谷

and composer Claude Debussy

和作曲家德布西

began to incorporate Kabuki influences in their work,

都在作品裡融入歌舞伎元素

while Kabuki itself underwent

同時，歌舞伎

much change and experimentation

也經歷許多變革與實驗

to adapt to the new modern era.

以適應新時代

Like other traditional art forms,

如同其他傳統藝術

Kabuki suffered in popularity

歌舞伎在二戰後

in the wake of World War II.

陷入人氣低谷

But innovation by artists

然而經過武智鐵二等

such as director Tetsuji Takechi

藝術家的改革創新

led to a resurgence shortly after.

歌舞伎很快的復甦了

Indeed, Kabuki was even considered

事實上，歌舞伎在駐日美軍中

a popular form of entertainment

amongst American troops stationed in Japan

非常流行

despite initial U.S. censorship

即使美軍軍事佔領期間

of Japanese traditions.

對日本文化審查十分嚴格

Today, Kabuki still lives on

現在，歌舞伎持續發展

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

作為日本文化遺產不可或缺的一環

extending its influence beyond the stage

它的影響力超越舞台

to television,

延伸到電視

film,

and anime.

電影

動畫

The art form pioneered by Okuni

阿國創造的歌舞伎藝術

continues to delight audiences

繼續給觀眾帶來愉悅

with the actors' elaborate makeup,

藉由表演者精緻的妝容

extravagant and delicately embroidered costumes,

精美華麗的戲服

and the unmistakable melodrama

和舞台表演所訴說的

of the stories told on stage.

動人的故事情節