Editing Kabuki (section)

===1629–1673: Transition to {{transliteration|ja|yarō-kabuki}}===
During the time period of 1628–1673, the modern version of all-male kabuki actors, a style of kabuki known as {{transliteration|ja|yarō-kabuki}} (lit., "young man kabuki"), was established, following the ban on women and young boys. Cross-dressing male actors, known as "{{transliteration|ja|[[onnagata]]}}" (lit., "woman role") or "{{transliteration|ja|[[oyama (Japanese theatre)|oyama]]}}" took over previously female- or {{transliteration|ja|wakashu}}-acted roles. Young (adolescent) men were still preferred for women's roles due to their less obviously masculine appearance and the higher pitch of their voices. The roles of adolescent men in kabuki, known as {{transliteration|ja|wakashu}}, were also played by young men, often selected for their attractiveness; this became a common practice, and {{transliteration|ja|wakashu}} were often presented in an erotic context.<ref>{{harvnb|Leupp|1997|pp=91–92}}</ref>

The focus of kabuki performances also increasingly began to emphasise drama alongside dance. However, the ribald nature of kabuki performances continued, with male actors also engaging in sex work for both female and male customers. Audiences frequently became rowdy, and brawls occasionally broke out, sometimes over the favors of a particularly popular or handsome actor, leading the shogunate to ban first {{transliteration|ja|onnagata}} and then {{transliteration|ja|wakashū}} roles for a short period of time; both bans were rescinded by 1652.<ref>{{harvnb|Leupp|1997|p=92}}</ref>