Geography Reference
In-Depth Information
footways. The actors were resigned to receiving no great concentration from their audien-
ces,whenthedaywassolonganddistractionssomany,andtheuseofstampingdancesand
wooden clappers to emphasize moments of high emotion helped to draw attention when
it was most necessary. The gangway through the auditorium (the
hanamichi)
, along which
the more striking entrances and exits were made, also helped in establishing communica-
tion. The invention in 1758 of the revolving stage made performances more spectacular.
Thelight inthetheatres wasdim,although there werewindowsintheroof,andsogestures
were large and expansive, make-up vivid, and costume exaggerated. Half of the repertory
was derived from the puppet-plays, and the formal actions of the puppets had been adap-
ted into the range of live acting. Plays grew more sophisticated as the years went by, but a
constant theme was the conflict of loyalty to one's lord, one's parents, one's family (in that
order and sometimes conflicting within themselves), and one's human affections. The only
sign of social criticism was when some dashing hero of merchant stock was triumphant
over a wicked
samurai.
This did not happen often, and most plots reinforced the ideas of
social stability that were the official doctrine.
The wood-block prints, for which this period is famous, existed largely as publicity
material for the various entertainment districts. Courtesans and actors had their fans, who
they were not considered to have any artistic value at the time.
In the open spaces and broad streets established as firebreaks, semi permanent booths
were set up. There the passers-by would pay to see wonders, such as strange birds and
beastsfromforeignlands(broughtbytheenterprisingDutch),monsters,suchasmermaids,
and people with deformities. Archery-galleries offered prizes for those skilful with the
small bows that were used there. Storytellers practiced their art with a repertory that often
told of townsmen tricking a stupid
samurai.
