Izumo no Okuni | |
|---|---|
 Okuni in an early depiction | |
| Born | c. 1578 |
| Died | c. 1613 |
| Occupation | Kabuki actress |
| Known for | Invention of kabuki theatre |
| Partner | Nagoya Sansaburō |
Izumo no Okuni (出雲 阿国; bornc. 1578; diedc. 1613) was aJapanese entertainer andshrine maiden who is believed to have invented thetheatrical art form ofkabuki. She is thought to have begun performing her new art style ofkabuki (lit. 'the art of singing and dancing') theatre in the dryriverbed of theKamo River inKyoto. Okuni's troupe quickly gained immense popularity, and were known for their performers, who were often lower-class women Okuni had recruited to act in her all-female theatre group.
Few concrete details are known about her life; born nearIzumo Province, Okuni worked as amiko (shrine maiden) for several years at theIzumo-taisha (the Grand Shrine of Izumo) until gaining popularity for her dramatised dance performances, which onlookers gave the name ofkabuki. Okuni continued to perform kabuki with her troupe until her retirement and disappearance sometime around 1610. She is believed to have died sometime around 1613.
Bornc. 1578,[1] Okuni grew up in the vicinity of the Izumo shrine, where her father, Nakamura Sanemon, worked as ablacksmith, and where several other family members served. Eventually Okuni joined as amiko (shrine maiden),[2] where she was known for her skill in dancing and acting, as well as her beauty. As it was a custom of the time to send priests,miko and others to solicit contributions for the shrine, she was sent toKyoto to perform sacred dances and songs.[2]
It was during her performances in Kyoto that she also became known for her performances ofnembutsu odori (ornembutsu dance) in honor of theAmida Buddha. Though this dance traces its origins to Kūya, a 10th-century evangelist ofPure Land Buddhism, by Okuni's time it had become a largely secularfolk dance, and her particular adaptation tended to be known for its sultriness andsexual innuendo.[3] Other popular themes for Okuni's acts included humorous skits about lover's trysts at various public establishments and meetings between men and prostitutes. Between these and other dances and acts, she garnered much attention and began to draw large crowds wherever she performed. Eventually she was summoned to return to the shrine, a call she ignored, though she continued to send money back.[4]
Around 1603, Okuni began performing on the dry riverbed of the Shijōgawara (Fourth Street Dry Riverbed) of the Kamo River[5] and at Kitano Shrine.[6] Okuni also performed for the ladies of theImperial court.[4] Gathering up the female outcasts and misfits of the region, particularly those involved in prostitution,[3] Okuni gave them direction, teaching them acting, dancing and singing skills in order to form her troupe.
Several theories exist as to the etymology of the wordkabuki, one being that it is derived from those who, oddly dressed and swaggering on the street, had been dubbedkabukimono (fromkabuku, 'to lean in a certain direction', andmono, 'people'). Another possible origin iskatamuki, which means 'slanted' or 'strongly-inclined.'[3] In either case, others labelled Okuni's troupe performances "kabuki" due to their eccentricity and social daring. The earliest performances of kabuki were dancing and song with no significant plot, often disdained as overly sexual andcacophonous, but equally lauded as colourful and beautiful.
Okuni's troupe was exclusively female. Thus, she required her actresses to play both male and female roles. As her troupe gained fame, she was emulated by many others, particularlybrothels, which offered such shows to amuse wealthy clients, as well as to gainprostitutes who had marketable acting and singing skills. This new style of exclusively female troupes became known by the alternative names ofshibai andonnakabuki,[7] (fromonna, the Japanese word for 'woman' or 'girl') andOkuni kabuki.[6]
One of Okuni's most popular performances featured the romantic character of Nagoya Sansaburō, a real-life samurai who had died in 1603. Onstage, Okuni's beautiful voice lured Sansaburō's spirit back into the world of the living to dance with her. Despite historical speculation about the possible links between Okuni and Sansaburō, it remains uncertain whether the pair had ever been lovers during his lifetime, or whether she had simply incorporated him into her storytelling.[8]
Okuni retired around 1610, and after that time she disappeared. In 1629, due to outcry for moral reform and concern about fights breaking out between men trying to win the attention of the actresses,shōgunTokugawa Iemitsu forbade women from performing in kabuki.[4] They were quickly replaced by young men as actors and "actresses", though this was soon banned as well due to some of the same issues of prostitution and corruption of morals, restricting the performances to those by older men, which is a standing practice in the official theatres even today.[3]
There are several conflicting theories of Okuni's year of death; some say she died in 1610,[2] others in 1613,[9] or in 1640.[7]
In addition to her founding of kabuki, Okuni contributed to Japanese theatre as a whole. She is said to have introduced the forerunner of thehanamichi ('path of flowers'), a runway leading from the rear of the theatre and crossing between the audience to the stage.[10] This has been incorporated in severalJapanese theatre arts beyond that of kabuki. In addition, she has also influenced modern musical theatre.[10]
Ariyoshi Sawako published her novelIzumo no Okuni in the late 1960s, crafting afictional biography of the dancer. The story was first printed as aserial inFujin Kōron from 1967 to 1969.[11]
A commemorative statue of Izumo no Okuni is located in Kyoto by theKamo River, not far from theMinami-za kabuki theatre.[12]
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