# data[].attributes.attachment_link.title
A Spirit of Innovation Continues - Massimo Theatre Foundation - Google Arts & Culture

# data[].attributes.attachment_link.description
The Teatro Massimo was built in 1897 and quickly became the symbol of all of Palermo. You might recognise the grand steps from the final scene of The Godfa...

# data[].attributes.body
You have a lot of good information already, so heres a source for some wonderful imagery you can add to your webquest (Trevor)

# data[].attributes.attachment_link.readable_text
Italy has many beautiful, historic opera houses, most of all still serving as theatres. Opera and ballet fans should visit at least one opera house and enjoy a live performance in one of this theatres in Italy. The opera season is generally from October to March or April but outdoor performances are held in the summer.

The best theatres in Italy

There are various beautiful and famous opera houses and theatres in Italy. We just want to suggest the unmissable ones. That places you should see at least once in your life. Especially if you are an Opera-lover.

Teatro La Scala - Milan

It is one of the symbols of Milan, famous all over the world for its great prestige in the artistic field: we are talking about the Teatro alla Scala, located in the homonymous square of the city. The history of this important theater "begins" with a fire: towards the end of the 1700s the Ducal Theater took fire and in its place the sovereign Maria Teresa of Austria had a new structure built, commissioning the work to the architect Giuseppe Piermarini.

On 3 August 1778, this gem of neoclassical art was officially inaugurated and for the occasion "L'Europa Riconosciuta",a piece especially composed by Antonio Salieri, was staged. Over time La Scala of Milan underwent some architectural changes: Napoleon abolished the royal box, in 1807 stuccoes and valuable decorations were added, and in 1813 more space was given to the stage. During World War II it was bombed out and then rebuilt. Successively it underwent an extensive and controversial renovation in 2004.

Rossini, Donizetti, Toscanini, and Verdi are just some of the great composers who have enchanted the audience here with their compositions.

If you want to retrace the history of this incredible theater, we are waiting to accompany you on an exclusive six-day tour of Milan, Venice and Rome: a unique opportunity to admire one of the most beautiful Italian theaters. Although the greatest artists of classical music have taken this stage, the Teatro alla Scala was not intended only for artistic representations: the space was also used as a ballroom. It was not rare that noble families entertained their guests in the boxes, and they even enjoyed gambling there.

La Scala in Milan is a place full of charm, thanks to the splendid architecture that characterizes it. But what are the curious facts related to one of the most famous theaters in Italy? Not everyone knows that in the past the seats of the stalls could be removed to create a free space where the public could be entertained by dancing, or even riding on horseback!

The stalls of the Teatro alla Scala conceal a curious story: each one was decorated by the family who owned it; the more the box was ornamented the more rich and influential was the family that it housed. Stall number 13 hides yet another secret: it is entirely covered with mirrors, a sly way to get to see and spy on every corner of the theater. From the boxes to the ghosts: the Teatro alla Scala "hosts" the spirits of the great artists who have walked the stage; it is said that even the ghost of the great soprano Maria Callas has manifested itself! To date, La Scala continues to draw the top voices and orchestras to perform on its stage.

The season opening at La Scala in Milan is one of the most anticipated social events of the city.

Teatro La Fenice - Venice

Now we find ourselves in one of the most suggestive cities in Italy: In Venice, precisely in the Sestiere di San Marco, stands the beautiful and famous Italian theatre Gran Teatro La Fenice.

Its history dates back to 1792: the Venetian theater was realized by Antonio Selva following the destruction of the Teatro di San Benedetto. This masterpiece of neoclassical refinement soon became one of the most beautiful and admired theaters in Italy: its official inauguration was on May 16 with the staging of the play "I giuochi d'Agrigento" by Giovanni Paisiello.

Then, the history of the Gran Teatro La Fenice was marked by a sad fate: in 1836 a fire almost completely destroyed the building, which was rebuilt immediately by the engineers Tommaso and Giovan Battista Meduna who brought it back to its former glory. Unfortunately, another devastating fire destroyed the Grand Theater, this time in 1996. But just like a phoenix (the mythological animal of which the theater bears the name) the theater "rose from its ashes" returning to shine in all its elegant beauty. The reconstruction of the theater was meticulously done, recovering the magnificence of the past: thanks to the work of expert artisans it was possible to decorate the Grand Theater La Fenice with stuccoes and precious golden details, just like in 1700.

The Grand Theater La Fenice in Venice has hosted performances of operas by authors who have marked history: the music of Gioacchino Vincenzo Bellini, Rossini and Giuseppe Verdi has enchanted the audience of the hall with their beauty. Today it is a landmark on the world opera scene, home to more than a hundred opera performances a year, an extraordinary season superbly directed by well-known artistic directors.

Teatro San Carlo - Naples

The Teatro San Carlo is the oldest continuously active venue for opera in Europe and one of the best known theatres in Italy.

Naples' Teatro San Carlo was founded in 1737. Some of the first ballet productions were performed here. It is the oldest opera house in Italy and with over 3000 seats, this theatre was home to several icons of Italian classical music and opera. Opera, ballet, and classical music are still performed at Teatro San Carlo. A symbol of the cultural greatness of Naples so strongly desired by Charles of Bourbon, it was designed by Giovanni Antonio Medrano and Angelo Casarale. With 184 boxes arranged on six floors and 1379 seats, the Teatro San Carlo is the largest theater in Italy. There is also a museum in the planning stage.

The sumptuous and elegant furnishings and the beautiful decorations are just some of the amazing features that will strike you immediately: you should also know that the Teatro San Carlo was the first to introduce the horseshoe floor plan, one of the principal stylistic elements of the Italian style theater. The theater has undergone several renovations. The architect Antonio Niccolini created the striking neoclassical façade and placed the three statues of the " Triade della Partenope " on the pediment. Unfortunately, the disastrous fire of 1816 completely destroyed the building, but Emperor Ferdinand IV wanted it rebuilt in just 10 months: the result is the splendid architecture that you can admire today. The most recent touch was given in 2009 by Elisabetta Fabbri who created the new foyer.

One of the particularities of this historic theater is the perfect acoustics, ingeniously obtained thanks to the lifting of the ceiling by the architect Niccolini.

The Teatro San Carlo, just like the city of Naples, hides mysteries and legends. Did you know that the theater and the Royal Palace are connected by a secret passage? It was built at the behest of the king who wanted to go to the shows without having to go out into the street and be seen by his subjects. In the side walls of the royal box, there are inclined mirrors that allowed the public to observe the king: it was an unwritten rule, in fact, that no one could applaud or ask for an encore before the sovereign did so.

Not everyone knows that originally the upholstery of the Teatro San Carlo was blue and not red: the blue of the house of Bourbon was replaced after the unification of Italy when it was decided to use red, a typical color for theaters of the period.

There is another San Carlo Theater, very similar to the Neapolitan theater: the architect Josè da Costa e Silva designed the Teatro Nacional de Sao Carlos in Lisbon, using the stylistic elements of Neapolitan architecture.

San Carlo's "orchestra tours" are very famous and expanded the theatre's prestige throughout the world. Also note that the Teatro San Carlo is home to one of the foremost ballet academies in the world, and that here ballet performances as well as operas are often held.

With our exclusive 8 days tour in Naples and Amalfi coast, we will bring you to visit one of the most prestigious theatres in Italy.

Teatro Massimo - Palermo

Teatro Massimo in Palermo is the foremost opera house in Sicily and the third largest opera house in Europe, as well as one of the finest of the entire continent. Its acoustics are some of the best in the world. The domed building is considered an architectural milestone and was featured in Francis Ford Coppola's Godfather (III). Performances hosted all year-round include opera, ballet, and music.

A must-visit for music fans, opera lovers and architecture passionates.

Teatro Regio - Torino

The Teatro Regio in Turin is another prominent opera house in Italy restored after being burned. The original 19th century theater was destroyed by fire in 1936. This theatre is home to musicals, plays, ballet and opera. Originally built as the royal theater in 1740, this opera house in Piazza Castello - a beautiful square in Torino - seated many international important persons, including Napoleon.

Arena di Verona

An amazing outdoor venue to watch performances, with a great acoustics (live shows are often performed without microphones). Fundamentally, the Arena di Verona is a restored Roman amphitheater just like the Colosseum in the middle of Verona. It was built in the 1st century AD. under the guidance of Emperor Augustus. Just like the Colosseum, the Verona Arena was also home to the games of gladiators that entertained the inhabitants of the city.

The Veronese amphitheater has changed its function several times throughout its history: in the medieval period, it was used as a place for public executions, while in the 1600s it hosted various spectacles, even the running of the bulls. The Verona Arena began to approach the opera in the 1800s, laying the foundation for its history of extraordinary successes. For over a century this incredible open-air theater has regularly hosted over twenty thousand spectators on its impressive steps who flock from all over the world to attend the grand opera season on its stage.

Each theater has a suggestive story to tell. The story of the Verona Arena is linked to the myth of its foundation. Legend has it that a Veronese gentleman was accused of a serious crime and in order to save his life, he promised the citizens that he would build a theater for Verona. In order to succeed in this plan, the man sold his soul to the devil who, in the night, sent his demons to build the great work. The gentleman, repentant of his actions, begged the Virgin Mary to free him from the darkness. The theater was almost finished, but the devils fled, leaving the theatre incomplete, with the characteristic shape that we can admire today.

Unlike other opera houses - due to its outdoor setting - the opera calendar for the Arena is during the summer. This open-air venue does host also other outdoor concerts (pop music and not only that) during the rest of the year.

It's time to leave for an exclusive tour to discover Verona and its magical places: leave it up to us to help you discover the most fascinating and curious aspects of this romantic city.

Read also: The five most visited museums of Italy

# data[].attributes.attachment_link.title
Theatres in Italy: the most beautiful & famous ones for opera and ballet

# data[].attributes.attachment_link.description
Italy has many beautiful, historic opera houses, most of all still serving as theatres. Opera and ballet fans should visit at least one opera house and enjoy a live performance in one of this theatres in Italy. The opera season is generally from October to March or April but outdoor performances are held in the summer.

# data[].attributes.body
Shelby

# data[].attributes.attachment_link.description
Spanning many centuries, Italian art and its outstanding, rich cultural legacy continue to inspire contemporary artists working in Italy today.

# data[].attributes.body
Shelby

# data[].attributes.attachment_link.readable_text
Japanese art has a long and colorful history stretching back to some time from the 10th millennium BC all the way to the present day. Throughout the history of this region, various empires have invaded the country and left behind their influences on traditional Japanese art. Over time, the Japanese artists chose elements of the invading cultures that fit into their preferred aesthetics, absorbing and assimilating concepts, techniques, and motifs from them, thus creating unique Japanese art styles from these foreign influences.
Famous Japanese Artists and Their Artworks

Buddhism was a large component in the creation of complex art in the 7th and 8th centuries in Japan. Religious subject matter was common in ancient Japanese art, but Japanese artwork eventually extended to other subjects that reflected the daily life and environment of the local people.

Tenshō Shūbun (1414 - 1463)

Tenshō Shūbun was born in the Ōmi Province of Japan in the late 14th century. He later moved to Kyoto, becoming director of the court painting bureau, an institution consisting of influential Japanese art patrons. Shūbun is considered by historians to be the father of Suiboku ink wash painting, a style that originated in China, but one which Shūbun helped incorporate into traditional Japanese art.

No. 6. Riding the Bull Home (c. 15th century) by Tenshō Shūbun. This is one of a series of ten images, generally known in English as the Ox-herding (or Bull-herding) pictures, by the 15th century Japanese Rinzai Zen monk Shūbun. They are said to be copies of originals, now lost, traditionally attributed to Kakuan, a 12th century Chinese Zen Master; Tenshō Shūbun, Public domain, via Wikimedia Commons

After studying Chinese masters such as Ma Yuan and Xia Gui, Shūbun took elements of their work and created a style of ink wash painting, promoting it until it became the local style of that era. Shūbun then went on to become a tutor of Japanese painting for future masters like Kanō Masanobu and Sesshū Tōyō. Reading in a Bamboo Grove, painted in 1446, is considered Shūbun's most well-known painting, having received the honor as a Japanese national treasure.

Reading in a Bamboo Grove (1446)

Reflective of earlier works by the Southern Song Chinese painters, this early example of ancient Japanese art depicts a landscape and poetry painted onto the surface of a scroll. It was owned by a Zen monk from a temple in Kyoto but was said to be created by Shūbun, another monk from a temple in Shôkoku-Ji.

Painting detail of Reading in a Bamboo Grove (1446) by Tenshō Shūbun. Full scroll: 134.8 x 33.3 cm; Tenshō Shūbun, Public domain, via Wikimedia Commons

Many Zen monks added a preface and extra poems to the scroll, making it hard to identify exactly who created this ancient Japanese artwork. However, it has been considered to be one of the only existing examples of Japanese drawings from that era that fit Shūbun's signature style.

Sesshū Tōyō (1420 - 1506)

Sesshū Tōyō was one of the few traditional Japanese artists from the Muromachi period, which was highly respected not only in Japan but also in China. This was due to the influence of the Chinese Song Dynasty artists on his work, which he then infused with its own Japanese character. He was considered the biggest exponent of Japanese ink wash painting, which was founded by Tenshō Shūbun, his master who taught him Japanese art styles such as Sumi-e (ink wash painting).

Portrait of Sesshū Tōyō, c. 16th century; 不詳 unknown, Public domain, via Wikimedia Commons

Tōyō took the traditional style of his master Shūbun and gave it a distinct Japanese character through the use of flatter dimensional space, thicker lines, and greater contrast between shadow and light. Tōyō was considered by his peers as well as historians to be the greatest painter in Japan, and his influence can still be seen in Japanese paintings up to today.

Landscape of the Four Seasons (1486)

Considered the greatest example of ink painting to come from Japan, Landscape of the Four Seasons is regarded by historians as Sesshū Tōyō's masterpiece. The 15-meter scroll depicts the various seasons of the year, starting with spring and ending in winter.

LEFT: Landscape of the Four Seasons, Winter (15th century) by Sesshū Tōyō; Sesshū Tōyō, Public domain, via Wikimedia Commons | RIGHT: Landscape of the Four Seasons, Summer (15th century) by Sesshū Tōyō; Sesshū Tōyō, Public domain, via Wikimedia Commons

Tōyō also painted other Japanese art styles and subject matter, such as Japanese drawings of Buddha and other Zen-influenced pictures. However, it is the Landscape of the Four Seasons that most defines the style that led to Tōyō being considered a master in traditional Japanese art.

LEFT: Landscape of the Four Seasons, Autumn (15th century) by Sesshū Tōyō; Sesshū Tōyō, Public domain, via Wikimedia Commons | RIGHT: Landscape of the Four Seasons, Spring (15th century) by Sesshū Tōyō; Sesshū Tōyō, Public domain, via Wikimedia Commons

Hasegawa Tōhaku (1539 - 1610)

Hasegawa Tōhaku was born in 1539 in the town of Nanao, Japan. He started his career as an artist by painting pictures of Buddha in his hometown and became successful enough to be a professional painter by his twenties. By his mid-30s, he had moved to Kyoto to study further at the highly respected Kanō school. Many of Tōhaku's early works are in the style taught by this school.

He was considered the fifth successor of the master Sesshū Tōyō and a master of the Azuchi-Momoyama, period along with his rival, Kanō Eitoku. Tōhaku is respected throughout Japan for his incredible Japanese art, and many of his works are listed as national treasures in Japan.

Pine tree and flowering plants (1593) by Hasegawa Tōhaku; Hasegawa Tōhaku, Public domain, via Wikimedia Commons

Pine Trees (1595)

With this series of six screens of exquisite Japanese drawings, Tōhaku managed to capture light and movement with only ink as his chosen medium, allowing him to give his pieces a feeling of space by applying three different layers of shading. With his unique manipulation of brushstrokes, he was able to create the impression of the painting receding as you walked towards it.

Pine Trees (1486) by Hasegawa Tōhaku; Tokyo National Museum, Public domain, via Wikimedia Commons

The viewer can feel the wind moving through the grove by the artist's use of specifically placed pine trees in the composition. Tōhaku wanted to create the impression of being drawn into the painting, and he achieved this by adding layers of shading to create the effect of parts of the pine trees extending beyond the limits of the painting itself.

Kanō Eitoku (1543 - 1590)

Kanō Eitoku was born in 1543 in Kyoto, Japan, grandson of master Kanō Motonobu. Motonobu taught his grandson in a style that was greatly influenced by the Chinese movements. Along with other members of his family, such as his father, Eitoku was renowned for his work in temples, where he installed beautifully painted ceiling and sliding door paintings as well as decorated standing screens.

Birds and flowers of the four seasons (16th century) by Kanō Eitoku, part of the paintings on room partitions in the abbot's quarters of Jukō-in of Daitoku-ji, Kyoto, Japan, ink on paper. This picture shows four of 16 panels on fusuma (sliding doors) in the ritual room; Kanō Eitoku (狩野永徳) and his father Kanō Shōei (狩野松栄), Public domain, via Wikimedia Commons

His biggest contribution to the Kanō school's selection of styles was his monumental style, otherwise known as Taiga, which is typically characterized by the use of bold brushwork, figures that are disproportionately large for their backgrounds, and an emphasis placed on the foreground aspects. Eitoku was vastly popular in his time and had many patrons who commissioned his work.

Painting of a Cypress Tree (1590)

This folding screen painting consists of eight panels, depicting a landscape with a Cypress tree in the foreground. Made from several panels joined together, these screens were used to divide sections of indoor spaces to provide some privacy in otherwise large areas.

Eitoku painted the trees with the strength of the brush, giving the effect of overwhelming force, and the background was covered in gold leaf. The overall contrast of the piece was achieved by these strong lines as well as by limiting how many colors were used in the composition.

Cypress Trees (16th century) by Kanō Eitoku; Kanō Eitoku, Public domain, via Wikimedia Commons

Tawaraya Sōtatsu (1570 - 1643)

Although the exact date of Tawaraya Sōtatsu's birthday is unknown, it is estimated to be around 1570. He is most known for his collaborations with Hon'ami Kōetsu, creating decorative and calligraphic works, as well as his amazing folding screens, many of which have become national treasures of Japan, including Wind God and Thunder God and Sekiya and Miotsukushi.

Wind God Fujin (right) and Thunder God Raijin (left) by Tawaraya Sōtatsu, 17th century; 俵屋宗達 (Tawaraya Sotatsu) (1570-1643), Public domain, via Wikimedia Commons

Sōtatsu was known as a Japanese furniture designer as well a Japanese artist of the Rinpa school, which was not a school in traditional terms, but rather a collective of artists creating Japanese drawings and other artworks influenced by Kōetsu and Sōtatsu. He is also known for pioneering Tarashikomi, a technique in which one adds drop after drop of color while the previous layer is still wet.

Sekiya and Miotsukushi (1631)

This beautiful work by Sōtatsu is considered a masterpiece by Japanese art historians. Depicting the artist's personal interpretation of the traditional Genji painting style, Sōtatsu adapts the Genji style of miniature Japanese drawings to a larger scale format while helping to transform the visual storytelling element of Genji illustration through the use of simplified and clean geometry.

TOP: Chapter I of the Tale of Genji, Sekiya, and Miotsukushi (17th century) by Tawaraya Sōtatsu; Tawaraya Sōtatsu, Public domain, via Wikimedia Commons | BOTTOM: Chapter II of the Tale of Genji, Sekiya, and Miotsukushi (17th century) by Tawaraya Sōtatsu; Tawaraya Sōtatsu, Public domain, via Wikimedia Commons

This piece consists of two screens, each one representing a random meeting between Genji and his former lover. Each screen depicts gates that represent travel, which is likely the main reason that they were paired together. This painting is one of only two works by Sōtatsu that has been dated with any clear accuracy and is thus considered vital in understanding this artist's history, which we still know little about.

Ogata Kōrin (1658 - 1716)

Ogata Kōrin was born in 1658 into a wealthy family that dealt with the sale and design of textiles to the richer women of the city. His father introduced him to the various arts and he often worked together with his brother, Kenzan. Not only did he paint in various Japanese art styles, but he also was a designer and lacquerer. However, Kōrin is most well known for his decorated folding screens.

Important Art Object Flowering Plants in Autumn (18th century), attributed to Ogata Kōrin; Attributed to Ogata Kōrin, Public domain, via Wikimedia Commons

Kōrin has also been noted as reviving the Rinpa school, which had been founded 50 years previously by masters Sōtatsu and Hon'ami Kōetsu. Kōrin disregarded the usual conventions and ideals of naturalism by creating his unique style, which was embodied by the use of simplified forms and an impressionist aesthetic.

Red and White Plum Blossoms (1710)

Red and White Plum Blossoms is one of the most famous paintings in Japan, currently residing at the MOA Museum of Art in Atami, and is registered in Japan as a national treasure. This simple yet beautifully stylized two-panel folding screen depicts a flowing river patterned with swirling flat waves, with plum trees on either side. The presence of plum blossoms suggests to the viewer that the scene represents the spring period.

Red and White Plum Blossoms (1710) by Ogata Kōrin; Ogata Kōrin, Public domain, via Wikimedia Commons

This work is considered a great example of the Rinpa school of painting, where Kōrin applied a technique called Tarashikomi to create the mottled look of the trees. This texture is created by playing a series of droplets on each other without the usual period of drying usually practiced when painting. It is thought that, based on the dating of the paintings and other evidence, this was most likely Ogata Kōrin's final painted piece before dying a few years after its creation.

Kitagawa Utamaro (1753 - 1806)

Kitagawa Utamaro was born in Edo in 1753. He is regarded as one of the most famous Japanese artists regarding the Ukiyo-e style of woodblock paintings and prints. He is also well known for his Japanese drawings of beautifully large-headed women. Besides that, Utamaro was also known to produce natural studies, in particular, a series of illustrated books about insects.

Portrait of Utamaro, drawn in 1931; 井上和雄編 渡辺版画店 1931, Public domain, via Wikimedia Commons

Utamaro's artwork eventually reached the shores of Europe, where it was very well received. His emphasis on shadow and light and his application of partial views is said to have greatly influenced the European Impressionists.

Three Beauties of the Present Day (1793)

This composition depicts three women in a triangular formation. The women were all celebrities at the time and were regular subjects of the artist's work. Each female figure is adorned with clothing bearing their family crests. Despite the highly stylized faces, one can still make out individual characteristics portrayed on each face, which differed from the usual generic-looking faces depicted in the works of the artists that preceded Utamaro.

Three Beauties of the Present Day (c. 1793) by Kitagawa Utamaro; Kitagawa Utamaro, Public domain, via Wikimedia Commons

This form of art was very popular in the 17th to 19th centuries, with subject matter focused on everyday people such as kabuki actors and courtesans as well as those associated with the pleasure districts of Japanese culture. Most often, these kinds of prints were created to advertise the local areas of entertainment.

Katsushika Hokusai (1760 - 1849)

Katsushika Hokusai was born on the 31st of October, 1760. He was known for transforming a style that was largely focused on actors, courtesans, and beautiful women by broadening the subject matter, introducing works that included plants, animals, and landscapes. Out of the majority of Japanese artists, Hokusai is most likely the most internationally renowned, largely due to The Great Wave off Kanagawa, which is considered the face of Japanese art globally.

A self-portrait of Katsushika Hokusai at the age of 83; Public Domain, Link

Hokusai was said to have used over 30 various aliases through which he created Japanese paintings and other styles, such as woodblock printing. His most important contributions to Japanese artwork, however, were only painted in his later years after he had turned 60. This includes his depiction of the holy mountain throughout the seasons known as the Thirty-six Views of Mount Fuji.

The Great Wave off Kanagawa (1829)

The Great Wave off Kanagawa is known as the most recognizable Japanese painting in the world and is artist Hokusai's most well-known artwork. It was published around 1892 as the first print of the series Thirty-Six Views of Mount Fuji. The painting depicts a huge threatening wave that towers above three small fishing vessels in Sagami Bay, with Mount Fuji in the distant background.

Following a period of isolation from the west, Japanese art styles were exported to Europe where they were quickly adopted, a term referred to as Japonism. This particular piece was renowned for its impact on European art culture, with even Vincent van Gogh, a huge admirer of Hokusai's work, praising the quality of line in the Japanese drawing, stating that the visual had an impact that could be described as "emotionally terrifying."

The Great Wave off Kanagawa (1829) from 36 Views of Mount Fuji by Katsushika Hokusai. Although it is often used in tsunami literature, there is no reason to suspect that Hokusai intended it to be interpreted in that way. The waves in this work are sometimes mistakenly referred to as tsunami, but they are more accurately called okinami, being great off-shore waves; After Katsushika Hokusai, Public domain, via Wikimedia Commons

Tomioka Tessai (1837 - 1924)

Born in 1837 as Tomioka Yūsuke, Tomioka Tessai is the pseudonym of this Japanese artist. He is known for being the last practitioner of the Bunjinga Tradition, as well as a forefather of the Nihonga style. Born into a merchant family, his inability to hear led his family to encourage him to be a scholar instead of a merchant. He studied literature and philosophy.

Portrait of Tomioka Tessai, before 1923; Unknown author Unknown author, Public domain, via Wikimedia Commons

After the death of his father, Tessai moved to a Shinto shrine. After more than ten years there, he began to study under numerous accomplished painters and soon developed his unique style. Western art was starting to exert its influence on the Eastern world, and Tessai urged artists to return to a traditional style of painting, hence initiating the Nihonga movement.

Abe-no-Nakamaro Writing a Nostalgic Poem While Viewing the Moon (1918)

This beautiful masterpiece was created by Tomioka Tessai in 1918. This silk canvas features a landscape of rural Japan, vivid red and green color bringing life to the otherwise beige composition. The painting depicts a tranquil scene in which a figure can be seen seated underneath one of the pagodas.

The figure is that of Abe-no-Nakamaro, a poet and scholar of the Nara period. As the name of the painting suggests, he is engaged in the act of writing poetry, something for which he was highly revered, while watching the full moon rise over the distant hills.

Abe-no-Nakamaro Writing a Nostalgic Poem While Moon-viewing (1918) by Tomioka Tessai; Tomioka Tessai, Public domain, via Wikimedia Commons

Takashi Murakami (1962 - Present)

Takashi Murakami was born on the 1st of February 1962, making him the most recent addition to our list of famous Japanese artists. He is a contemporary artist, and besides working with painting and sculpture, he also works in animation, merchandise, and fashion.

This style points towards an underlying legacy of two-dimensional flat imagery that had permeated Japanese art and film. Similar to the Pop art movement, "Superflat" sought to upcycle visual elements that were usually considered "low-art" and repackage them in a fresh manner, elevating them to the level of "high-art".

Abstract "Superflat" image by artist Takashi Murakami at the London Galler; Tadeas Navratil, CC BY-SA 4.0, via Wikimedia Commons

Smooth Nightmare (2000)

Takashi Murakami has been given the title of the Andy Warhol of Asia and is considered the most famous Japanese artist of the 21st Century. Smooth Nightmare is representative of his "Superflat" aesthetic, using imagery that represents no visible depth of space.

The artwork depicts various objects that seem to be morphing between human-like figures and mushrooms. A central figure of a mushroom with eyes takes up most of the canvas, with the background being a flat grayscale shade.

Frequently Asked Questions

Does Japanese Art Differ From Other Eastern Cultures?

In short, yes. Although there was much initial influence from the Chinese Song Dynasty, the early Japanese artists soon adapted the styles and techniques to better suit their own aesthetic, and it wasn't long before art began to rise out of the region that bore a distinctly Japanese character. After a period of isolation from the rest of the world due to war, the Japanese art style would eventually leave the borders of Japan and go on to influence the rest of the world, such as Europe.

What Is Japan's Most Famous Painting?

The Great Wave off Kanagawa is undoubtedly the most well-known Japanese painting in the world. It was published around 1892 as the first print of the series Thirty-Six Views of Mount Fuji, created by the Japanese master Katsushika Hokusai.

# data[].attributes.attachment_link.title
Japanese Art - Looking at the Most Famous Japanese Artists and Artworks

# data[].attributes.attachment_link.description
Japanese art has a long and colorful history stretching back to some time from the 10th millennium BC all the way to the present day. Throughout the history of this region, various empires have invaded the country and left behind their influences on traditional Japanese art.

# data[].attributes.attachment_link.title
Just Say Noh. But Also Say Kyogen: Crash Course Theater #11

# data[].attributes.attachment_link.title
Pee Jokes, the Italian Renaissance, Commedia Dell'Arte: Crash Course Theater #12

# data[].attributes.headline
Japanese and Italian Theatre: Madam Butterfly

# data[].attributes.subject
Japanese and Italian Theatre: Madam Butterfly

# data[].attributes.attachment_link.readable_text
US Navy Lieutenant Pinkerton is stationed in Nagasaki, Japan. He has paid for an arranged marriage with a fifteen-year-old geisha, Cio-Cio-San, known as Madam Butterfly. As the action begins, Pinkerton is with Goro the marriage-broker. A few minutes before the wedding is to take place, the US consul Sharpless arrives. He tells Pinkerton that he is convinced Butterfly is deeply in love. He fears that Pinkerton will destroy her as he does not take the marriage seriously, but regards it merely as a convenience. Pinkerton dismisses his fears but affirms that he waits for the day he will make a 'genuine' marriage to an American woman.

Butterfly arrives with her friends. She charms with her cultivated manners and child-like appearance: she is from a noble family that has been reduced to penury, and has had to earn a living as a geisha. It emerges that her father committed suicide at the request of the emperor.

The remaining wedding-guests and officials arrive and a simple ceremony takes place. As the toasting begins, the voice of the Bonze - the high-priest - is heard. He reveals that Butterfly has converted to Christianity. He and the entire Japanese contingent renounce her. They disperse, shouting curses as they go.

Pinkerton tries to comfort Butterfly. Suzuki, her faithful servant, prepares her for the night. The newly-weds are left alone. Darkness has fallen, the sky is full of stars.
Act II Part I
Three years have passed. Pinkerton left Nagasaki soon after he 'married' Butterfly, promising that he would return in the spring 'when the robins nest'. Butterfly and Suzuki are on the verge of destitution. Suzuki tries to make Butterfly see that Pinkerton will not return, but she is determined to wait for him.

Sharpless visits with a letter from Pinkerton. He tries in vain to read it through Butterfly's constant chatter. They are interrupted by Goro and Prince Yamadori, her rich suitor. She has rejected his offer of marriage many times and does so again, insisting that she is already married. Goro points out that, under Japanese law, deserted women are automatically divorced. She is American, she says, and will only recognise American law. The two leave Sharpless and Butterfly alone. He resumes his attempt to read the letter. It is clear that Pinkerton has asked Sharpless to tell her that he will not be returning. Sharpless tries gently to guide her towards facing the truth and suggests she should accept Yamadori's proposal. She produces her trump-card: she has borne Pinkerton's son. Surely he will not forget her now? Sharpless, at a loss, leaves her to her waiting.

A cannon-shot is heard from the harbour. Pinkerton's ship has returned.
Part II
Butterfly has waited all night, but Pinkerton has not come. Suzuki persuades her to rest. Sharpless arrives with Pinkerton hoping to find Suzuki alone. She must be the one to explain to Butterfly that Pinkerton has an American wife, Kate, and that they wish to adopt the son that Butterfly bore him. Pinkerton is aghast at what has happened and leaves Sharpless and Kate with Suzuki. Butterfly bursts in on them and unable to live with the truth, she commits suicide.

# data[].attributes.attachment_link.title
Puccini's Madam Butterfly | ENO Operas | English National Opera

# data[].attributes.attachment_link.description
US Navy Lieutenant Pinkerton is stationed in Nagasaki, Japan. He has paid for an arranged marriage with a fifteen-year-old geisha, Cio-Cio-San, known as Madam Butterfly. As the action begins, Pinkerton is with Goro the marriage-broker. A few minutes before the wedding is to take place, the US consul Sharpless arrives.

# data[].attributes.body
Click on the sailboat and it will send you to the link

# data[].attributes.attachment_link.description
Discover how opera came into being with this potted history explored through the first nights of a dozen of our favourite works.

# data[].attributes.attachment_link.readable_text
Commedia dell'Arte, also known as "Italian comedy", was a humorous theatrical presentation performed by professional actors who traveled in troupes throughout Italy in the 16th century.

Performances took place on temporary stages, mostly on city streets, but occasionally even in court venues. The better troupes-notably Gelosi, Confidenti, and Fedeli-performed in palaces and became internationally famous once they traveled abroad.

Music, dance, witty dialogue, and all kinds of trickery contributed to the comic effects. Subsequently, the art form spread throughout Europe, with many of its elements persisting into present-day theater.

Given the vast number of Italian dialects, how would a touring company make itself understood?

Apparently, there was no attempt made to change the performance's dialect from region to region.

Even when a local company performed, much of the dialogue would not have been understood. Regardless of region, il Capitano would have spoken in Spanish, il Dottore in Bolognese, and l'Arlecchino in utter gibberish. The focus was placed on physical business rather than on spoken text.

Influence

The impact of commedia dell'arte on European drama can be seen in French pantomime and the English harlequinade. The ensemble companies generally performed in Italy, although a company called the comédie-italienne was established in Paris in 1661.

The commedia dell'arte survived the early 18th century only by means of its vast influence on written dramatic forms.

Props

There were no elaborate sets in commedia. Staging, for example, was minimalistic-rarely anything more than one market or street scene-and the stages were frequently temporary outdoor structures.

Instead, great use was made of props including animals, food, furniture, watering devices, and weapons. The character Arlecchino bore two sticks tied together, which made a great noise on impact. This gave birth to the word "slapstick".

Improvisation

In spite of its outwardly anarchic spirit, commedia dell'arte was a highly disciplined art requiring both virtuosity and a strong sense of ensemble playing. The unique talent of commedia actors was to improvise comedy around a pre-established scenario. Throughout the act, they responded to each other, or to the audience's reaction, and made use of lazzi (special rehearsed routines that could be inserted into the plays at convenient points to heighten the comedy), musical numbers, and impromptu dialogue to vary the happenings on stage.

Physical Theater

Masks forced actors to project their characters' emotions through the body. Leaps, tumbles, stock gags ( burle and lazzi), obscene gestures and slapstick antics were incorporated into their acts.

Stock Characters

The actors of the commedia represented fixed social types, tipi fissi, for example, foolish old men, devious servants, or military officers full of false bravado. Characters such as Pantalone, the miserly Venetian merchant; Dottore Gratiano, the pedant from Bologna; or Arlecchino, the mischievous servant from Bergamo, began as satires on Italian "types" and became the archetypes of many of the favorite characters of 17th- and 18th-century European theatre.

Arlecchino was the most famous. He was an acrobat, a wit, childlike and amorous. He wore a cat-like mask and motley-colored clothes and carried a bat or wooden sword.

was Arlecchino's crony.He wwas more roguish and sophisticated, a cowardly villain who would do anything for money.

Il Capitano (the captain) was a caricature of the professional soldier-bold, swaggering, and cowardly.

(the doctor) was a caricature of learning-pompous and fraudulent.

was a caricature of the Venetian merchant, rich and retired, mean and miserly, with a young wife or an adventurous daughter.

Pedrolino was a white-faced, moon-struck dreamer and the forerunner of today's clown.

Pulcinella, as seen in the English Punch and Judy shows, was a dwarfish humpback with a crooked nose, the cruel bachelor who chased pretty girls.

Scarramuccia, dressed in black and carrying a pointed sword, was the Robin Hood of his day.

The handsome Inamorato (the lover) went by many names. He wore no mask and had to be eloquent in order to perform speeches of love.

The Inamorata was his female counterpart; Isabella Andreini was the most famous. Her servant, usually called Columbina, was the beloved of Harlequin. Witty, bright, and given to intrigue, she developed into such characters as Harlequine and Pierrette.

La Ruffiana was an old woman, either the mother or a village gossip, who thwarted the lovers.

Cantarina and Ballerina often took part in the comedy, but for the most part, their job was to sing, dance, or play music.

There were many other minor characters, some of which were associated with a particular region of Italy such as Peppe Nappa (Sicily), Gianduia (Turin), Stenterello (Tuscany), Rugantino (Rome), and Meneghino (Milan).

Costumes

The audience was able to pick up on each character's dress the type of person he was representing. For elaboration, loose-fitting garments alternated with very tight, and jarring color contrasts opposed monochrome outfits. Except for the inamorato, males would identify themselves with character-specific costumes and half masks. The zanni (precursor to clown) Arlecchino, for example, would be immediately recognizable because of his black mask and patchwork costume.

While the inamorato and the female characters wore neither masks nor costumes unique to that personage, certain information could still be derived from their clothing.

Audiences knew what members of the various social classes typically wore, and also expected certain colors to represent certain emotional states.

Masks

All the fixed character types, the figures of fun or satire, wore colored leather masks. Their opposites, usually pairs of young lovers around whom the stories revolved, had no need for such devices. Today in Italy handcrafted theater masks are still created in the ancient tradition of carnacialesca.

Music

The inclusion of music and dance into commedia performance required that all actors have these skills. Frequently at the end of a piece, even the audience joined in on the merrymaking.

# data[].attributes.attachment_link.title
What You Need to Know About Commedia dell'Arte

# data[].attributes.attachment_link.description
Commedia dell'Arte, also known as "Italian comedy", was a humorous theatrical presentation performed by professional actors who traveled in troupes throughout Italy in the 16th century. Performances took place on temporary stages, mostly on city streets, but occasionally even in court venues.

# data[].attributes.attachment_link.readable_text
The Italian Renaissance occurred from 1550 - 1700. The rapid economic growth in Italy during this time made it possible for the more wealthy citizens to indulge in alternate forms of entertainment. Wealthy families such as the Medics began a system of patronage, in which they would finance artists to produce art in many forms. Italian theatre used the plays of ancient Greek and Roman theatre (dramas) as well as mediaeval theatre (religious plays) as a foundation. Comedic delegate The main style used by theatre groups in Italy during this period was called comedic or Comedic delegate.

Comedic delegate or "the comedy of professional artists" was a mainstay in Italian theatre during its renaissance. This included bits of comedy performed by different actors called lazuli. The type of comedy used in the Italian Renaissance was what is now known as slapstick or farce. This was a comedy style, which highlighted pain or misfortune occurring to the actors in a humorous context. For the most part the actors in these comedies used no scripts. The actors were given a plot or scenario and acted out these plots in a humorous way. These performances were often vulgar and obscene.

Standardize characters developed and appeared in familiar costumes and wearing masks. The character standards for Comedic included these general outlines: - Pantaloon: A greedy old man, merchant or fool, often lustful, conniving, and meddling. - Tottered: A drunk, often professor or doctor dressed in a cap and gown. - Capitan: A soldier who was braggadocios and cowardly. - Inamorata: Young lovers who appeared quite normal compared to the rest of the characters. "zinnia": Foolish servants. Usually two servants, one being drunk and more foolish than his cohort.

Neoclassicists were rigid critics of Italian drama. They developed rules for theatre performances that survived for nearly 200 years in Europe. These mandates were claimed to have been derived from Greek and Roman models. Five central concepts of neoclassicism are as follows; verisimilitude, decorum, purity of genres, the three unities, and two fold purpose. Verisimilitude - The seeking of truth. An attempt to portray the performance as a reasonable interpretation of what is real or reasonably expected in real life. Decorum - The way in which characters of certain classes behaved according to that class.

Age, sex, rank, and profession would be acted out as if the characters held those standings. A strong sense of moral right and wrong was upheld, reflected by the punishment of evil, and the rewarding of good. Purity of Genres - Comedy and tragedy were never mixed. The elements of one genre were never to be interspersed with the performance of another. The use of the chorus, the dues ex machine, and the soliloquy, was prohibited. The Three Unities - The concept of the unity of time, place, and action. Unity of time required a reasonable time for the action of the play to take place; usually no more than 24 hours.

Unity of place required that the play should include no more than one place or location. Unity of action required that there be no sub plots, secondary plots or counter-plots. Two Fold Purpose - The two purposes of neoclassical Italian plays were to teach and entertain. - Opera Opera is the one form of Italian renaissance theatre that still survives to this day. It was developed in the late asses in Florence. Opera was originally an attempt to recreate a genuine Greek tragedy. Observing the Greek fusion of music and drama, the originators of opera attempted, and succeeded in, producing a completely sung illegal in their interpretations.

Opera is a form of drama that creates its mood, actions, and characters through music The first opera on record is called Deafen (1597). The text of the opera was written by, Titivation Ruining (1562 - 1621). The music was scored by, Jackpot Peer (1561-1633). The opera, which consisted of a prologue and six scenes, was performed during the pre- Lenten Carnival of Palazzo Coors. The Camera Formation, an academy of wealthy Italians who studied ancient Greek and Roman theatre, produced Deafen. Performers can sing the librettos; these performances are called an aria (solo), a duet, a trio, and a quartet respectively.

The visual display (intermezzo), along with musical excellence and strong performances, keep opera alive as a form of powerful dramatic art. Staging, Scenery, and Lighting The use of perspective drawing as a means to capture realistic backdrops was a common theme among 16th century stage designers. The illusion of depth was achieved through perspective drawing techniques using "vanishing points" as objects appeared closer to the horizon; they were painted smaller and smaller on their scenic backdrops.

The first use of this technique is believed to have occurred in 508, for a performance of Arrestor's La Cascaras. A leading author and set creator named Sebastian Serial wrote about this technique and other scene design methods in his book Architecture (1545). Different kinds of illusionist's backdrops settings were developed for the three major types of plays of the era (comic, pastoral, and tragic). A three-sided revolving prism called the perestroika, was developed to change between different settings. This was quite an innovation for its time, as the scenery could be changed right before the audience's eyes.

Other advances included the proscenium Ramee and front curtain along with varied flying machines (glories) and other special effects. Lighting inside the dark theaters of renaissance Italy also had to be addressed. Oil lamps and candles were the primary source of stage lighting. Though candles and lamps produced some smoke, they were placed in chandeliers and on the front of the stage. Placing translucent receptacles or canisters over them could dim candles when lower light levels were called for. Due to the size and lack of sufficient lighting of the theatres, artificial lighting was an ever-present necessity.

To export a reference to this essay please select a referencing style below:

# data[].attributes.attachment_link.title
The History of Italian Theatre Essay on History, Theatre

# data[].attributes.attachment_link.description
The Italian Renaissance occurred from 1550 - 1700. The rapid economic growth in Italy during this time made it possible for the more wealthy citizens to indulge in alternate forms of entertainment. Wealthy families such as the Medics began a system of patronage, in which they would finance artists to produce art in many forms. ...

# data[].attributes.body
Click each subsection of Kabuki, Noh, and Bunraku

# data[].attributes.attachment_link.description
A tourist's guide to Kabuki, Japanese theater.

# data[].attributes.attachment_link.readable_text
The three major classical theaters in Japan are Kabuki, Noh, and Bunraku. All three of these performance types have been listed as UNESCO Intangible Cultural Heritages. Kabuki is a Japanese classical theater art form that can be traced back to the Edo Period. The word Kabuki is written with three characters that mean song (ka), dance (bu), and skill (ki). A typical kabuki show has elaborate costumes, exaggerated wigs, distinct make-up, over the top actions, and consists of an all-male cast. The emphasized movements in the performance are to convey certain meanings to the audience since many old Japanese words are used in the dialogue.

Noh are a form of traditional theater that involves music, dance, and drama. The movements are slow with poetic language in a monotonous tone while the actors wear rich and heavy costumes. During the interludes of the main performance comical pieces known as kyogen are performed. It first originated in the 14th century and was popularized by a man named Zeami. The distinct feature of Noh is the use of masks that tell the audience the character being played. The masks are usually carved from blocks of Japanese cypress with three dimensional properties that allow the actors the ability to show various expressions from different angles. Only males are allowed to play the parts which are Shite (leading character), Waki (supporting actor), Hayashi (musicians) Jiutai (chorus), and Koken (stage attendants).

Bunraku is a traditional puppet theater that was once a popular form of entertainment for commoners during the Edo Period in Osaka. It later evolved into an artistic theater in the late 17th century. The puppets are half the size of a human being and are operated by three performers who are the main operator with their two assistants. No strings are used to operate the puppet and the puppeteer is in full view for the audience. The story of the show is narrated by one person who also voices all the puppets. A shamisen (guitar with three strings) accompanies the narrative to help create the tone of the performance.

Kabuki is a traditional form of theatre that originated in the Edo Period. In Japan, it is recognized as one of the three major classical forms of theatre including noh and bunraku.

Kabuki has captured the hearts and minds of audiences since the beginning of the 17th century to present day. It is an art form rich in showmanship.

It is renowned for its appearance involving impressive costumes, striking makeup, eccentric wigs, and not to mention, the exaggerated actions performed by the actors.

Music and dance are skillfully applied, bringing life to the characters from Japan's past, both real and imaginary. Plays can range from realistic tragic dramas to thrilling adventure stories. Plots are usually based on historical events, moral conflicts, love stories, warm hearted dramas, tales of tragedy or conspiracy, and many other well known stories.

The Kabuki is staged is equipped with dynamic gadgets such as revolving platforms and trap doors, used for actors to appear and disappear. Additionally, the Kabuki stage has a footbridge (hanamichi) that leads into the audience allowing dramatic entrances and exits.

Kabuki theatre has important characteristics like its own music, costumes, props and gadgets, and uses specific language and acting styles. All of these elements combined produce an astounding and captivating performance.

Originally, kabuki used to involve both male and female actors and was popular among common people.. However, later during the Edo Period, Tokugawa Shogunate restricted women to participate. Since then, all the actors are played by men, a tradition that has remained till present day. Therefore, there are male actors that specialize in playing female role (onnagata).

All the actors play the roles of warriors, thieves, as well as respectable ladies, and prostitutes. They have always been worshipped by an adoring audience who may shout out the actors' names while on stage. All kabuki actors have a hereditary stage name (yago). It is an accepted practice for people in the audience to shout their favorite actor's names during critical and appropriate times to show support.

Stagehands called kurogo will sometimes appear on the stage, usually dressed in all black. Their role has no direct connection to the story, they are there to assist actors with props or other help to make the act appear seamless. They are treated invisible or non existent to the audience.

Mainstream kabuki use to be performed at selected venues in big cities like Edo (present day Tokyo), Osaka, and Kyoto in the olden days.

Today, you can enjoy kabuki plays in selected theaters with Western-style seats. There are even earphones provided to listen to an English translation.

Through all these modern developments in the past century, Japan's culture from the past has not been lost. Buy tickets to enjoy a rich play with a one of a kind venture to the past. There are well-known venues located in Tokyo, Kyoto, Osaka, Fukuoka, and more.

Kabuki is the most popular traditional style of Japanese drama. It has been named as a UNESCO Intangible Cultural Heritage.

Originating in the 14th century, Noh is a traditional form of theatre involving music, dance, and drama. During the Muromachi Period (1333-1573), a man named Zeami popularized and formalized the Noh we know of today. Four main noh troupes were established during this era, receiving sponsorship from shrines and temples.

It was during the Tokugawa Period (1603-1867) that Noh became even more standardized when the shogunate made it the official ceremonial art and issued regulations for its governance. Furthermore, tradition was emphasized instead of innovation. A fifth troupe was also added during this time. This would make five main noh troupes that are still performed till this day.

Structured around music and dance, Noh theater consists of slow movement, poetic language, monotonous tone, and brilliant costumes. Plots are usually based on history, legend, literature and contemporary events. Themes in Noh plays are often related to dreams, ghosts, spirits and supernatural worlds.

All performers in Noh plays are male. There are five essential roles that are involved to create an outstanding performance.

There is a leading character called Shite. The shite may act as a deity, a holy man, a demon, a spirit, or a living man depending on each play. Movements are used to express various moods.

The supporting character, waki, plays roles such as a monk, priest or samurai. The waki always portrays living people in contrast to the shite.

The musicians are known as Hayashi. There are four musicians that provide soundtrack for the performance using a flute (fue), shoulder drum (kotsuzumi), hip drum (otsuzumi) and stick drum (taiko).

The chorus, Jiutai, sits to the left of the stage and collaborates with the shite in the narration of the story. Lastly, there are stage attendants called Koken. They dress in black and assist the performers in various ways, such as handing them props, but are not directly connected to the story.

There are a variety of types of Noh plays. For instance, the kami (god) play involves a sacred story of a Shintō shrine, shura mono (fighting play) centers on warriors, katsura mono (wig play) has a female protagonist, and gendai mono (present day play) is a story considered contemporary and realistic rather than legendary and supernatural.

Masks in which the shite wears are equally important in noh plays. It lets the audience know what kind of character is being portrayed. Masks representing demons, spirits, as well as women and men of various ages are frequently used. They are carved from blocks of Japanese cypress. The three dimensional properties allow skilled actors to create various expressions using changes in head orientation.

Costumes are composed of multiple layers, textures, and details to create a majestic grace, yet an effect of a bulky, massive figure as well. Notably, expressiveness is achieved through props, such as a folding fan. The fan may represent any prop suggested by its shape and handling.

You can watch noh today in modern indoor theaters with an in-built noh stage. Well known venues are located in Tokyo, Osaka, and Nagoya. The program usually lasts for a couple of hours, which consists of a few Noh acts, along with short kyogen pieces in between.

During the Edo Period in Osaka, Bunraku started as popular entertainment for the commoners. It is the traditional puppet theater of Japan. It is also recognized as a UNESCO Intangible Cultural Heritage, along with noh and kabuki.

In the past, the performance was called ningyo joruri - ningyo meaning puppet and joruri being a kind of chanted narration. Now, it is officially called bunraku because the name was derived from a troupe organized by Uemura Bunrakuken in the early 19th century.

Each operated by three performers (a principal operator and two assistants), bunraku puppets are approximately one-half or two-third life size. Instead of using strings, the puppeteers collaborate to maneuver the limbs, eyelids, eyeballs, eyebrows, and mouths of the puppets to produce life-like actions and facial expressions. The puppeteers can be seen by the audience, but are dressed in black to express that they are "invisible".

The three puppeteers work together on stage in perfect harmony to make the puppet doll seem truly alive. Its movements are surprisingly delicate and beautiful when controlled by its master puppeteers. The puppets can be lovely, mysterious, and comical as they can make the audience laugh. They seem to win more empathy from the audience being dolls.

The story is narrated by one person (the tayu), who also voices all the puppet characters. Therefore, the tayu must have a diverse range of vocal expressions to represent all ages and genders.

Shamisen players are musicians that determine the pace of the narration with their accompanying music. Synchronized with the narration and the music from the shamisen, it's enjoyable to watch the sophisticated puppets come to life.

Similar to kabuki, bunraku is often based on adaptations of tragic love stories, heroic legends, and historical events. The most distinguished compositions by Japan's famous playwright Chikamatsu Monzaemon (1653 - 1724) are bunraku plays. Many of which are portrayed around this kind of conflict.

Bunraku is performed in mostly modern theaters including Western-style seats. It can be watched in venues such as the National Theatre in Tokyo and the National Bunraku Theatre in Osaka. English headsets are usually available for most performances.

# data[].attributes.attachment_link.description
The three major classical theaters in Japan are Kabuki, Noh, and Bunraku. All three of these performance types have been listed as UNESCO Intangible Cultural Heritages. Kabuki is a Japanese classical theater art form that can be traced back to the Edo Period.

# data[].attributes.attachment_link.readable_text
Highlights

The three main forms of traditional theatre are kabuki, noh, and bunraku.

The main form of theatre is kabuki, a stunning representation of a compelling story.

The puppets used for bunraku are unique pieces of art.

Spending a whole day watching shows is a common way for Japanese people to relax.

Traditional Japanese Theatre

All kinds of noh masks

The rich tradition of Japanese theatre includes 3 major forms: kabuki, noh, and bunraku. They all originated around the 15th and the 16th centuries, and were mainly performed in the imperial courts.

Kabuki is in contrast to noh (see below): its main goal is to shock the public with extremely lively stories, using wild costumes and sword fights.

Noh is usually based on traditional literature, narrated by a human who was once supernatural. The dances require masks, costumes, and highly-skilled performers, and are highly stylized.

Bunraku is puppet theatre. It uses big puppets (almost 1.5 meters tall) controlled by different puppeteers, and music plays an important part.

Kabuki

Kabuki, "the art of singing and dancing", is the principal form of Japanese theatre, originating during the Edo Period (17th century). Watching a show means enjoying the dynamic costumes, masks, and exaggerated performances of the actors (exclusively men): everything is done to create a sense of awe in the audience.

Features of a kabuki performance

Kabuki is known for its extremely lively stories

As indicated, kabuki performances are extremely dynamic: trapdoors allow sudden changes of scene, making actors disappear; while a live orchestra plays, accompanying the action with traditional instruments. Plots revolve around historical events, love, conspiracy, moral conflicts, etc. What you need to remember is that what is being shown is just a part of the entire story.

Kurugo, the assistants

Kurugo, or "assistants", are a peculiar feature of the performances. Their role is to hand props to the actors or to help them with some aspects of their performance.

The kurugo work hard to make the performance smooth, to avoid interruptions or breaking the flow. They are dressed all in black, and must be regarded as non-existent.

Play structure of kabuki

There are usually 5 acts: the first, jo, is a slow opening that introduces the characters and the plot. The next three acts, called ha, represent the main action: conflicts occur and tragedies happen. Kyu, the final act, is short and quick, supplying a satisfying conclusion.

Where to watch kabuki

The style of costume and makeup is visually stunning

If you want to enjoy kabuki in a modern theatre with western-style seats, we recommend the National Theatre or the Kabukiza Theatre, both in Tokyo. These are easily accessible to foreign tourists, with performances every day.

If instead you would prefer to experience the feeling of a traditional kabuki performance, head to Kanamaruza Theatre in Kotohira, the oldest kabuki playhouse.

Noh

Noh (skills) originated in the 14th century as a complex form of theatre involving music, dance, and drama. Noh plays are performed throughout the day, with comedy interludes called kyogen. They follow a five-act structure identical to kabuki.

Themes and plots of noh

Noh costums are usually decorated and heavy

The current repertoire of noh consists of nearly 240 plays. Stories can be divided into three categories: genzai, with human characters and a linear timeline; mugen, involving supernatural worlds; and ryokake, a hybrid of the two.

One or two masked characters appear at a time

Major themes are the retelling of a shrine's history; allegories from the Buddhist underworld; women's lives; etc. A program of five acts will present a miscellany of different themes.

Roles of noh

Noh performers start their training at 3 years of age. Their apprenticeship is a never-ending process. The roles can be divided into 4 categories:

Shi-te: the leading role

Waki: the antagonist

Kyogen: the comic relief during the interludes

Hayashi: instrumentalists, playing flute, hip-drum, shoulder-drum, and stick-drum

Elements of a noh performance

A noh play is performed on a square stage with a roof, and masks are one of its key features, portraying characters in different ways. Costumes are quite complicated, with multiple layers creating imposing figures. To boost expressiveness, actors embellish their movements with folding fans.

Where to watch noh

The National Theatre in Tokyo is an excellent place to watch a good noh play. Osaka has a famous theatre exclusively dedicated to noh, the Otsuki Noh Theatre. For a unique experience, you can try to assist in a play performed at the Miyajima's Itsukushima Shrine, with the stage standing on pillars in the sea.

Bunraku

This form of puppet theatre was founded in Osaka in the 17th century, and is nowadays regarded as a high art form. The big puppets are maneuvered by three operators, and the story is narrated by a single actor. Music accompanies the narration and the complex movements of the performers.

Elements of bunraku

Bunraku has in turn borrowed a number of kabuki drama

The puppets used are carefully crafted by specialists, and are usually about 150 cm tall. The head is the most important part and is controlled by the main puppeteer, the omozukai, while two other puppeteers control the two hands. The puppeteers' training lasts years.

Music is provided by shamisen, with a low pitch and a full tone.

Puppets of bunraku

Heads differ according to gender, social class, and personality; and each head is usually repainted before each show. The construction of a head is extremely complicated: every detail distinguishes the character in a unique way. Costumes are complex as well, with different layers and patterns.

Stage of bunraku

The main puppeteer wears traditional formal dress

The stage is divided into different parts:

Yuka: where the chanter and shamisen players are

Funazoko: where the puppeteers are

Komaku: the small curtains used by the puppets to leave the scene

Joshiki-maku: which separates and hides the puppeteers from the public

Where to watch bunraku

We strongly recommend watching a show at the National Bunraku Theatre in Osaka, the birthplace of the art form. The National Theatre in Tokyo is also an excellent option.

Popular Japanese Performing Arts

Theatre is not the only traditional Japanese entertainment. Thanks to the culturally rich life at the Imperial Court, Japan is home to many kinds of dance, music, and performance, influencing each other and even having a significant impact on the western world.

Kyomai dance originated in Kyoto during the 17th century and is characterized by gentle, elegant movements influenced by the sophisticated imperial court. The dancers are a maiko and a geiko, finely dressed in beautiful and complex garments.

Dance and music go together, and one of the most popular traditional instruments is called koto, the national instrument of Japan. A koto has 13 strings and is about 180 cm long. The strings are plucked using only three fingers. Nowadays, even though pop music is more and more prominent, koto is still widely appreciated and played.

The national instrument called koto is widely played

The koto is one of the instruments used by orchestras playing gagaku, a type of Japanese classical music usually performed at shrines, temples, and courts. Wind, string, and percussion instruments are all used to create this elegant and rich music.

Kyogen theater is a form of comic theatre

Kyogen theater is a form of comic theatre. It is usually performed in the interludes between the acts of a noh play. It can be compared to commedia dellarte: it has stock characters, the plot is simple, dialogues and movements are exaggerated, and its main goal is to make the audience laugh.

Booking and Ticket Prices

Tickets for a kabuki show cost around 2,000 yen for a single act, or something between 3,000 and 25,000 yen for an entire segment (depending on where you sit).

For noh plays, tickets range from 3,000 to 12,000 yen. There are also discounted tickets for single acts.

Tickets for bunraku performances are sold for between 1,500 and 6,500 yen, and tickets are sold per segment (there are two segments a day).

Tickets can be bought online or at the theatre. You might need to speak Japanese to buy tickets, so it is good to check in advance and ask for help if necessary.

Theatre Etiquette

To fully appreciate a play, understanding the etiquette is important. Before watching a noh performance, buy the program to help understand the plot and context.

If you have large luggage items that don't fit under your seat, place them in a locker. There is no dress code, but casual business dress is usually recommended. Don't eat or drink inside a theatre, and remember not to enter while a program is playing: that is extremely rude. Photos are prohibited; and you have to remain silent no matter what.

Before clapping, wait for the utai and the hayashi to leave the stage. If you are not sure, just wait for everyone else.

# data[].attributes.attachment_link.title
Traditional Theatre and Performing Arts in Japan

# data[].attributes.attachment_link.description
The three main forms of traditional theatre are kabuki, noh, and bunraku. The main form of theatre is kabuki, a stunning representation of a compelling story. The puppets used for bunraku are unique pieces of art. Spending a whole day watching shows is a common way for Japanese people to relax.