Editing Kabuki (section)

===1842–1868: {{transliteration|ja|Saruwaka-chō}} kabuki===
[[File:Brooklyn Museum - Kabuki Scene (Diptych) -85.282.6a- Hokushu.jpg|thumb|Kabuki Scene (Diptych) by [[Utagawa Yoshitaki|Yoshitaki]]]]
In the 1840s, repeated periods of [[drought]] led to a series of fires affecting Edo, with kabuki theatres—traditionally made of wood—frequently burning down, forcing many to relocate. When the area that housed the Nakamura-za was completely destroyed in 1841, the {{transliteration|ja|shōgun}} refused to allow the theatre to be rebuilt, saying that it was against fire code.<ref name="Ernst 1956 10-12"/>

The shogunate, mostly disapproving of the socialisation and trade that occurred in kabuki theatres between merchants, actors and prostitutes, took advantage of the fire crisis in the following year, forcing the Nakamura-za, Ichimura-za and Kawarazaki-za out of the city limits and into [[Asakusa]], a northern suburb of Edo. This was part of the larger [[Tenpō Reforms]] that the shogunate instituted starting in 1842 to restrict the overindulgence of pleasures.<ref>{{Cite web |title=Successful Period {{!}} History of Kabuki {{!}} INVITATION TO KABUKI |url=https://www2.ntj.jac.go.jp/unesco/kabuki/en/history/history4.html |access-date=2022-04-26 |website=www2.ntj.jac.go.jp}}</ref> Actors, stagehands, and others associated with the performances were also forced to move as a result of the death of their livelihood; despite the move of everyone involved in kabuki performance, and many in the surrounding areas, to the new location of the theatres, the inconvenience of the distance led to a reduction in attendance.<ref name="Masato 2007"/> These factors, along with strict regulations, pushed much of kabuki "underground" in Edo, with performances changing locations to avoid the authorities.

The theatres' new location was called Saruwaka-chō, or Saruwaka-machi; the last thirty years of the Tokugawa shogunate's rule is often referred to as the "Saruwaka-machi period", and is well known for having produced some of the most exaggerated kabuki in Japanese history.<ref name="Masato 2007"/>

Saruwaka-machi became the new theatre district for the Nakamura-za, Ichimura-za and Kawarazaki-za theatres. The district was located on the main street of Asakusa, which ran through the middle of the small city. The street was renamed after Saruwaka Kanzaburo, who initiated Edo kabuki in the Nakamura-za in 1624.<ref name="Masato 2007"/>

European artists began noticing Japanese theatrical performances and artwork, and many artists, such as [[Claude Monet]], were inspired by Japanese woodblock prints. This Western interest prompted Japanese artists to increase their depictions of daily life, including the depiction of theatres, brothels, main streets and so on. One artist, [[Utagawa Hiroshige]], produced a series of prints based on Saruwaka from the Saruwaka-machi period in Asakusa.<ref name="Masato 2007"/>

Despite the revival of kabuki in another location, the relocation diminished the tradition's most abundant inspirations for costuming, make-up, and storylines. Ichikawa Kodanji{{nbsp}}IV was considered one of the most active and successful actors during the Saruwaka-machi period. Deemed unattractive, he mainly performed {{transliteration|ja|[[buyō]]}}, or dancing, in dramas written by [[Kawatake Mokuami]], who also wrote during the [[Meiji era]] to follow.<ref name="Masato 2007"/> [[Kawatake Mokuami]] commonly wrote plays that depicted the common lives of the people of Edo. He introduced {{transliteration|ja|shichigo-cho}} (seven-and-five syllable meter) dialogue and music such as {{transliteration|ja|[[kiyomoto (music)|kiyomoto]]}}.<ref name="Masato 2007"/> His kabuki performances became quite popular once the Saruwaka-machi period ended and theatre returned to Edo; many of his works are still performed.

In 1868, the Tokugawa ceased to exist, with the [[Meiji restoration|restoration of the Emperor]]. Emperor Meiji was restored to power and moved from Kyoto to the new capital of Edo, or Tokyo, beginning the Meiji period.<ref name="Ernst 1956 10-12"/> Kabuki once again returned to the pleasure quarters of Edo, and throughout the Meiji period became increasingly more radical, as modern styles of kabuki plays and performances emerged. Playwrights experimented with the introduction of new [[genre]]s to kabuki, and introduced twists on traditional stories.