Editing Performing arts (section)

====Japan====
[[File:Kabuki play.jpg|thumb|right|Kabuki play]]
[[File:Performance 1 (in Kagoshima).jpg|thumb|right|Performance in [[Kagoshima]]]]
{{main|Noh|Bunraku|Kabuki|Butoh}}

During the 14th century, there were small companies of actors in [[Japan]] who performed short, sometimes vulgar comedies. A director of one of these companies, Kan'ami (1333–1384), had a son, [[Zeami Motokiyo]] (1363–1443), who was considered one of the finest child actors in Japan. When Kan'ami's company performed for [[Ashikaga Yoshimitsu]] (1358–1408), the {{transliteration|ja|[[shōgun]]}} of Japan, he implored Zeami to have a court education for his arts.<ref>{{Cite web|title=the-noh.com : The Words of Zeami : His Dramatic Life|url=https://www.the-noh.com/en/zeami/index.html|access-date=2021-09-19|website=www.the-noh.com|language=en|archive-date=11 March 2022|archive-url=https://web.archive.org/web/20220311175457/https://www.the-noh.com/en/zeami/index.html|url-status=live}}</ref> After Zeami succeeded his father, he continued to perform and adapt his style into what is today [[Noh]]. A mixture of [[pantomime]] and vocal acrobatics, the Noh style of theatre has become one of Japan's most refined forms of theatrical performance.<ref>{{cite book |last1=Bowers |first1=Faubion |title=Japanese Theatre |date=1974 |publisher=Tuttle |isbn=978-0-8048-1131-6 |oclc=1211914 }}{{page needed|date=January 2023}}</ref>

Japan, after a long period of civil wars and political disarray, was unified and at peace primarily due to {{transliteration|ja|shōgun}} [[Tokugawa Ieyasu]] (1600–1668). However, alarmed at the increasing numbers of Christians within the country due to the proselytizing efforts of Christian missionaries, he cut off contact from Japan to Europe and China and outlawed Christianity. When peace did come, a flourish of cultural influence and growing merchant class demanded its own entertainment. The first form of theatre to flourish was Ningyō jōruri (commonly referred to as [[Bunraku]]). The founder of and main contributor to Ningyō jōruri, [[Chikamatsu Monzaemon]] (1653–1725), turned his form of theatre into a true art form. Ningyō jōruri is a highly stylized form of theatre using puppets, today about {{frac|1|3rd}} the size of a human. The men who control the puppets train to become master puppeteers, when they can then operate the puppet's head and right arm and choose to show their faces during the performance. The other puppeteers, controlling the less important limbs of the puppet, cover themselves and their faces in a black suit, to imply their invisibility. The dialogue is handled by a single person, who uses varied tones of voice and speaking manners to simulate different characters. Chikamatsu wrote thousands of plays during his lifetime, most of which are still used today.{{citation needed|date=January 2023}}

[[Kabuki]] began shortly after Bunraku, legend has it by an actress named Okuni, who lived around the end of the 16th century. Most of kabuki's material came from Noh and Bunraku, and its erratic dance-type movements are also an effect of Bunraku. However, kabuki is less formal and more distant than Noh, yet very popular among the Japanese public. Actors are trained in many varied things including dancing, singing, pantomime, and even acrobatics. Kabuki was first performed by young girls, then by young boys, and by the end of the 16th century, kabuki companies consisted of all men. The men who portrayed women on stage were specifically trained to elicit the essence of a woman in their subtle movements and gestures.{{citation needed|date=January 2023}}