Nontraditional or MODERN THEATER in Japan embraces a variety of new genres that have emerged since the Meiji Restoration. Shingeki (new theater) appeared in the early 20th century through the staging of translated Western dramas with high art as their aim, as opposed to the commercialism of contemporary kabuki and the political propaganda of shinpa. Tsubouchi Shoyo, Shimamura Hogetsu, Osanai Kaoru, and Ichikawa Sadanji II (1880–1940) were its early proponents. Shinpa-geki (also known as shinpa) originated in the “hooligan shows” of the early Freedom and People’s Rights Movement. The foremost playwright from this kabuki-esque genre was Kawakami Otojiro. The Asakusa Opera variety show, beloved of writers, such as Nagai Kafu, appeared in the Asakusa district of Tokyo in 1917. Its promoters helped popularize opera and Western music in the prosperous conditions of post–World War I Japan. Taishu engeki (popular theater) is usually divided into the three subgenres: kei engeki (light comedy), kengeki (samurai plays), and rebyu (reviews). The exact elements of the plays are left up to the theatrical companies, but most perform plays that are accessible to broad audiences, easy to understand, intimate in terms of space, and inexpensive. Taishu engeki is currently performed in more than 25 theaters across Japan. Large movie and entertainment companies (such as Shochiku and Toho) sponsor shogyo engeki (commercial theater), so movie stars typically fill the lead roles, and their success is measured by their ability to make audiences respond emotionally. Plays run for a month at a time and are priced for the wealthy. Kogekijo engeki (small theater drama) started as a reaction to shingeki and originally referred to plays performed in small, intimate theaters. The term was revived in the 1960s to describe underground theater (also called angura engeki) and continues to evolve, with over 60 kogekijo engeki theaters across Japan. Jido engeki (children’s theater) is geared toward middle and elementary school children. Founded by students who had experienced World War II, pledging to prevent future use of child soldiers, its rapid popularity led to the category of “theatrical appreciation” being added to school curricula.
See also ABE KOBO; ARIYOSHI SAWAKO; BETSUYAKU MINORU; FUJIMORI SEIKICHI; HIJIKATA YOSHI; INOUE HISASHI; KINOSHITA JUNJI; KISHIDA KUNIO; KOJIMA NOBUO; KUBO SAKAE; KUME MASAO; KURATA HYAKUZO; MASAMUNE HAKUCHO; MISHIMA YUKIO; MORIMOTO KAORU; MUSHANOKOJI SANEATSU; NAGAYO YOSHIRO; NAKAMURA MITSUO; OKAMOTO KIDO; SHIMAMURA HOGETSU; TERAYAMA SHUJI; THEATER REFORM; TSUJI KUNIO; YAMAMOTO YUZO; YAMAZAKI MASAKAZU; YOSHII ISAMU.
Historical dictionary of modern Japanese literature and theater. J. Scott Miller. 2009.