Kabuki Plus
Transformation dance
The transformation dance became very popular in the early 19th century (1804-29). A single dancer performs various roles from young to old and male to female. The main attraction is to show the speed and skill of transformation through various tricks, so the dances are often unrelated. The present repertoire includes many such pieces that are now performed independently. Among these, Rokkasen is unusual in that it brings together the dances in a single theme based on the Six Poets. As such, some people argue that this piece is not meaningful unless one actor performs all five male roles, while others feel that audiences would prefer a full cast of actors appropriate to each role.
Unusual structure
One attraction of this show is its unusual structure. The “Henjo” scene depicts a bitter and emotional love story of a high-ranking old monk. The atmosphere changes completely in the next scene, “Bunya”, where a cheap nobleman dances playfully to kiyomoto music in a commoner’s comical version of a graceful classic poem. In “Narihira”, there is yet another switch to a dance between a beautiful couple in a graceful, imperial manner. Narihira is expected to deliver a poised performance in the fan dance, while Komachi must show a stylish but self-effacing mature taste. “Kisen” moves to a teahouse in Kyoto’s Gion district in a flamboyant atmosphere, with a joyous dance by monks. Puns abound: for instance, a famous poem by Kisen referring to the rural Tatsumi district of Kyoto is transformed to the Tatsumi pleasure quarters of Tokyo. The dance is complemented with witty lyrics and choreography. The final piece, “Kuronuchi”, is set in the imperial palace in ancient days. The poem competition is a takeoff on an old Noh drama, and Kuronushi is revealed to be a villain scheming to overthrow the government.
Komachi legend
The Six Poets are mentioned in the preface of the ancient Kokinshu poetry collection. Ono no Komachi, the sole female, is described as gentile with a sense of angst. She was a poet of intelligence and beauty, but is always depicted as having deep ennui. As she was said to be unmarried, she was used as source material for many dramas, novels and stories throughout the Edo Period. In the much older Noh drama, several pieces show her as an old beggar who has experienced deep enlightenment. Kabuki depicts her as a young and beautiful princess, such as this drama and Seki no To, but she is always shown with a sorrowful air.
Seki no To and Rokkasen
These two masterpieces of Kabuki dance have much in common. Seki no To shows the Osaka Gate with grey cherry blossoms in full bloom on a snow-covered mountain, where Munesada is guarding the former emperor’s tomb. Komachi, Munesada’s former lover, arrives after a long journey through the snow. They recall the old times when they were in love but never married. Munesada, once in the imperial household, took the name Henjo later in life. In 849, he became the head of the imperial archives, and was promoted the following year to the upper fifth rank. But with the death of his supporter, Emperor Ninmyo, he became a monk at age 35. He joined the ranks at Mt Hie and trained under esoteric Buddhism, then became the head monk of Kazan Temple when it was built in 868. He was thus also known as Abbot Kazan. He is said in the classic Kokinshu poem collection to have exchanged verses with Komachi. This is alluded to in the lyrics in Rokkasen. Otomo Kuronushi appears in Seki no To as the gatekeeper Sekibei, and is subsequently revealed as a villain by the spirit of a Komachi cherry tree. The introduction to Kokinshu describes Kuronushi as vulgar, like a mountain peasant amid the flowers. Sekibei embodies this image in Kabuki aesthetics, showing the high educational level of Edo playwrights.
