Editing Kabuki (section)

===Stage design===
[[File:Shibai Ukie by Masanobu Okumura.jpg|thumb|left|upright=1.3|{{transliteration|ja|Shibai Ukie}} ("A Scene from A Play") by Masanobu Okumura (1686–1764), depicting Edo Ichimura-za theatre in the early 1740s]]

The kabuki stage features a projection called a {{nihongo3|"flower path"|花道|[[hanamichi]]}}, a walkway which extends into the audience and via which dramatic entrances and exits are made. Okuni also performed on a {{transliteration|ja|hanamichi}} stage with her entourage. The stage is used not only as a walkway or path to get to and from the main stage, but important scenes are also played on the stage.

Kabuki stages and theaters have steadily become more technologically sophisticated, and innovations including revolving stages and trap doors were introduced during the 18th century. A driving force has been the desire to manifest one frequent theme of kabuki theater, that of the sudden, dramatic revelation or transformation.<ref name="Scott">{{harvnb|Scott|1955|pp=55–56}}</ref> A number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations. The term {{nihongo||外連|[[keren (kabuki)|keren]]}}, often translated as "playing to the gallery", is sometimes used as a catch-all for these tricks. The {{transliteration|ja|hanamichi}}, and several innovations including revolving stage, {{transliteration|ja|seri}} and {{transliteration|ja|chunori}} have all contributed to kabuki. The {{transliteration|ja|hanamichi}} creates depth and both {{transliteration|ja|seri}} and {{transliteration|ja|chunori}} provide a vertical dimension.

{{transliteration|ja|Mawari-butai}} (revolving stage) developed in the Kyōhō era (1716–1735). The trick was originally accomplished by the on-stage pushing of a round, wheeled platform. Later a circular platform was embedded in the stage with wheels beneath it facilitating movement. The {{transliteration|ja|kuraten}} ("darkened revolve") technique involves lowering the stage lights during this transition. More commonly the lights are left on for {{transliteration|ja|akaten}} ("lighted revolve"), sometimes simultaneously performing the transitioning scenes for dramatic effect. This stage was first built in Japan in the early 18th century.

{{transliteration|ja|Seri}} refers to the stage "traps" that have been commonly employed in kabuki since the middle of the 18th century. These traps raise and lower actors or sets to the stage. {{transliteration|ja|Seridashi}} or {{transliteration|ja|seriage}} refers to trap(s) moving upward and {{transliteration|ja|serisage}} or {{transliteration|ja|serioroshi}} to traps descending. This technique is often used to lift an entire scene at once.

[[File:Kabuki-Play-Yoshitsune-Senbon-Zakura-1847.png|thumb|Chūnori: Kunitarō Sawamura II as Kitsune Tadanobu (left) flying over the stage, in the  autumn of 1847 production of {{transliteration|ja|[[Yoshitsune Senbon Zakura]]}}]] 
[[File:Misono-za Nagoya March 2013 (2).JPG|thumb|Traditional striped black-red-green curtain, at the Misono-za in Nagoya]]

{{transliteration|ja|Chūnori}} (riding in mid-air) is a technique, which appeared toward the middle of the 19th century, by which an actor's costume is attached to wires and he is made to "fly" over the stage or certain parts of the auditorium. This is similar to the wire trick in the stage musical ''[[Peter Pan (1954 musical)|Peter Pan]]'', in which Peter launches himself into the air. It is still one of the most popular {{transliteration|ja|keren}} (visual tricks) in kabuki today; major kabuki theaters, such as the [[National Theatre of Japan|National Theatre]], [[Kabuki-za]] and [[Minami-za]], are all equipped with {{transliteration|ja|chūnori}} installations.<ref>[http://www2.ntj.jac.go.jp/unesco/kabuki/jp/4/4_04_02.html Ukon Ichikawa as Genkurō Kitsune flying over audience] {{Webarchive|url=https://web.archive.org/web/20100110234139/http://www2.ntj.jac.go.jp/unesco/kabuki/jp/4/4_04_02.html |date=10 January 2010 }} in the July 2005 National Theatre production of ''Yoshitsune Senbon Zakura''.</ref>

Scenery changes are sometimes made mid-scene, while the actors remain on stage and the curtain stays open. This is sometimes accomplished by using a {{transliteration|ja|Hiki Dōgu}}, or "small wagon stage". This technique originated at the beginning of the 18th century, where scenery or actors move on or off stage on a wheeled platform. Also common are stagehands rushing onto the stage adding and removing props, backdrops and other scenery; these {{nihongo||黒子|[[kuroko]]}} are always dressed entirely in black and are traditionally considered invisible. Stagehands also assist in a variety of quick costume changes known as {{transliteration|ja|hayagawari}} ("quick change technique").
When a character's true nature is suddenly revealed, the devices of {{transliteration|ja|hikinuki}} and {{transliteration|ja|bukkaeri}} are often used. This involves layering one costume over another and having a stagehand pull the outer one off in front of the audience.

The curtain that shields the stage before the performance and during the breaks is in the traditional colours of black, red and green, in various order, or white instead of green, vertical stripes. The curtain consists of one piece and is pulled back to one side by a staff member by hand.

An additional outer curtain called {{transliteration|ja|doncho}} was not introduced until the Meiji era following the introduction of western influence. These are more ornate in their appearance and are woven. They depict the season in which the performance is taking place, often designed by renowned {{transliteration|ja|[[Nihonga]]}} artists.<ref>{{cite web |url=http://ajw.asahi.com/article/cool_japan/style/AJ201312190050 |title=Art made to be viewed with the curtains closed - AJW by the Asahi Shimbun |access-date=27 November 2015 |url-status=dead |archive-url=https://web.archive.org/web/20151208050514/http://ajw.asahi.com/article/cool_japan/style/AJ201312190050 |archive-date=8 December 2015 }}</ref>