Editing Kabuki (section)

==Performance==
{{more citations needed section|date=June 2014}}
The three main categories of kabuki play are {{nihongo3|historical or pre-Sengoku period stories|時代物|[[jidaimono]]}}, {{nihongo3|"domestic" or post-Sengoku period stories|世話物|[[sewamono]]}}, and {{nihongo3|"dance pieces"|所作事|[[shosagoto]]}}.<ref name="Kabuki MIT Global Shakespeares">{{cite web | url=http://globalshakespeares.mit.edu/glossary/kabuki/ | title=Kabuki « MIT Global Shakespeares | access-date=8 April 2015}}</ref>

{{transliteration|ja|Jidaimono}}, or history plays, are set within the context of major events in Japanese history. Strict censorship laws during the Edo period prohibited the representation of contemporary events and particularly prohibited criticising the shogunate or casting it in a bad light, although enforcement varied greatly over the years. Many shows were set in the context of the [[Genpei War]] of the 1180s, the [[Nanboku-chō]] Wars of the 1330s, or other historical events. Frustrating the censors, many shows used these historical settings as metaphors for contemporary events. {{transliteration|ja|[[Kanadehon Chūshingura]]}}, one of the most famous plays in the kabuki repertoire, serves as an excellent example; it is ostensibly set in the 1330s, though it actually depicts the contemporary (18th century) affair of the revenge of the [[Forty-seven rōnin|47 ''rōnin'']].

[[File:Kanadehon Chūshingura by Toyokuni Utagawa III.jpg|thumb|upright=1.85|left|The March 1849 production of {{transliteration|ja|[[Chūshingura]]}} at Edo Nakamura-za theater]]
Unlike {{transliteration|ja|jidaimono}}, which generally focused upon the samurai class, {{transliteration|ja|sewamono}} focused primarily upon commoners, namely [[chonin|townspeople]] and peasants. Often referred to as "domestic plays" in English, {{transliteration|ja|sewamono}} generally related to themes of family drama and romance. Some of the most famous {{transliteration|ja|sewamono}} are the [[shinjū|love suicide]] plays, adapted from works by the {{transliteration|ja|bunraku}} playwright Chikamatsu; these center on romantic couples who cannot be together in life due to various circumstances and who therefore decide to be together in death instead. Many if not most {{transliteration|ja|sewamono}} contain significant elements of this theme of societal pressures and limitations.

{{transliteration|ja|Shosagoto}} pieces place their emphasis on dance, which may be performed with or without dialogue, where dance can be used to convey emotion, character and plot.<ref>{{cite book |url=https://books.google.com/books?id=CnKmBgAAQBAJ&pg=PT280|title=A Kabuki Reader: History and Performance: History and Performance |editor= Samuel L. Leiter |first=Leonard C. |last=Pronko |date=12 February 2015 |page=248 |publisher=Routledge |isbn=9781315706832 }}</ref> Quick costume change techniques may sometimes be employed in such pieces. Notable examples include {{transliteration|ja|[[Musume Dōjōji]]}} and {{transliteration|ja|[[Renjishi]]}}. {{transliteration|ja|[[Nagauta]]}} musicians may be seated in rows on stepped platforms behind the dancers.<ref>{{cite book |url=https://books.google.com/books?id=6NLGxdXEkvIC&pg=PA115|title=Historical Dictionary of Japanese Traditional Theatre |first= Samuel L.|last= Leiter |date=16 January 2006 |page=115 |publisher=Scarecrow Press |isbn=9780810865143 }}</ref>

Important elements of kabuki include the {{nihongo||見得|mie}}, in which the actor holds a picturesque pose to establish his character.<ref name="Scott"/> At this point his house name ({{nihongo||屋号|[[yagō]]}}) is sometimes heard in loud shout ({{nihongo||掛け声|[[kakegoe]]}}) from an expert audience member, serving both to express and enhance the audience's appreciation of the actor's achievement. An even greater compliment can be paid by shouting the name of the actor's father.

The main actor has to convey a wide variety of emotions between a fallen, drunkard person and someone who in reality is quite different since he is only faking his weakness, such as the character of Yuranosuke in {{transliteration|ja|[[Chūshingura]]}}. This is called {{transliteration|ja|hara-gei}} or "belly acting", which means he has to perform from within to change characters. It is technically difficult to perform and takes a long time to learn, but once mastered the audience takes up on the actor's emotion.

Emotions are also expressed through the colours of the costumes, a key element in kabuki. Gaudy and strong colours can convey foolish or joyful emotions, whereas severe or muted colours convey seriousness and focus.