Written in May 2011 Wrote this after studying Kabuki and Takarazuka theaters and their unique acting roles, namely the onnagata and otokoyaku, and the interpretations of gender through their performances.

She’s the Man: Performing Gender in Kabuki and Takarazuka through Kata

Of all the theatre forms in the world, there are few as mystifying and fascinating as those found in Japan, especially the highly stylized Kabuki and Takarazuka. What is it about the Kabuki and Takarazuka aesthetics that attract their respective audiences? More than the music, the dancing, the romance, or the lavish spectacle, it is the male-role specializing otokoyaku in the all-female Takarazuka theatre and the female-role specializing onnagata in the all-male Kabuki theatre that draws spectators. Both of these actors demonstrate that gender is not connected to one’s sex, but is a performance. A performance which requires the learning of a highly stylized set of patterns known as kata, by which the onnagata in Kabuki and the otokoyaku in Takarazuka learn to exude femininity and masculinity respectively, as well as become more elegant, graceful, and attractive than a “real” woman or man ever could. This in turn affects the audience’s perception of gender for both male and female spectators and demonstrates the cultural difference between Japan and the West when defining “femininity” and “masculinity.” Continue reading PAPER: She’s the Man →