onnagata

{{Short description|Male actors who impersonate women in Japanese kabuki theatre}}

{{Other uses|Oyama (disambiguation){{!}}Oyama}}

{{Multiple issues|

{{Expand language|topic=|langcode=ja|otherarticle=女形|date=September 2024}}

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File:日本舞踊長唄「鷺娘」.jpg in 2011]]

{{nihongo3|lit. 'female role'|女形/女方|Onnagata}}, also {{nihongo||女形|oyama}}, are male actors who play female roles in kabuki theatre.{{cite web|title=Three Actors|url=http://www.wdl.org/en/item/4346|publisher=World Digital Library|access-date=4 May 2013}} It originated in 1629 after women were banned from performing in kabuki performances. There are many specific techniques that actors must learn to master the role of onnagata.

History

= Edo Period =

In the early 17th century, shortly after the emergence of the genre, many kabuki theaters had an all-female cast ({{Transliteration|ja|onna kabuki}}, or kabukimono), with women playing men's roles as necessary.{{Cite journal |last=Gabrovska |first=Galia Todorova |date=2015 |title=Onna Mono: The "Female Presence" on the Stage of the All-Male Traditional Japanese Theatre |url=https://www.jstor.org/stable/24737038 |journal=Asian Theatre Journal |volume=32 |issue=2 |pages=387–415 |doi=10.1353/atj.2015.0027 |jstor=24737038 |issn=0742-5457|url-access=subscription }} {{Transliteration|ja|Wakashū kabuki}} ('adolescent-boy kabuki'), with a cast composed entirely of young men playing both male and female roles, and frequently dealing in erotic themes, originated circa 1612.{{cite book|last=Leupp|first=Gary P.|title=Male Colors: The Construction of Homosexuality in Tokugawa Japan|publisher=University of California Press|year=1997|isbn=0-520-20900-1}}{{rp|page=90}}

The role of the onnagata was shaped during the Edo period as an expression of femininity that was meant to align with the femininity of real women in Edo society. Both {{Transliteration|ja|onnagata}} and {{Transliteration|ja|wakashū}} (or {{Transliteration|ja|wakashū-gata}}), actors specializing in adolescent female roles (and usually adolescents themselves), were the subject of much appreciation by both male and female patrons, and were often prostitutes. All-male casts became the norm after 1629, when women were banned from appearing in kabuki due to the prevalent prostitution of actresses and violent quarrels among patrons for the actresses' favors.{{rp|pages=90–91}} This ban failed to stop the problems, since the young male ({{Transliteration|ja|wakashū}}) actors were also fervently pursued by patrons.{{Cite journal |last=Episale |first=Frank |date=2012 |title=Gender, Tradition, and Culture in Translation: Reading the "Onnagata" in English |url=https://www.jstor.org/stable/23359546 |journal=Asian Theatre Journal |volume=29 |issue=1 |pages=89–111 |doi=10.1353/atj.2012.0023 |jstor=23359546 |issn=0742-5457|url-access=subscription }} This more modern, all-male kabuki was originally known as yarō kabuki ('male kabuki') to distinguish it from earlier theatrical forms.

In 1642, {{Transliteration|ja|onnagata}} roles were forbidden, resulting in plays that featured only male characters. These plays continued to have erotic content and generally featured many {{Transliteration|ja|wakashū}} roles, often dealing in themes of {{Transliteration|ja|nanshoku}} (male homosexuality); officials responded by banning {{Transliteration|ja|wakashū}} roles as well.{{rp|page=92}} The ban on {{Transliteration|ja|onnagata}} was lifted in 1644, and on {{Transliteration|ja|wakashū}} in 1652, on the condition that all actors, regardless of role, adopted the adult male hairstyle with shaved pate. {{Transliteration|ja|Onnagata}} and {{Transliteration|ja|wakashū}} actors soon began wearing a small purple headscarf ({{Transliteration|ja|murasaki bōshi}}) to cover the shaved portion, which became iconic signifiers of their roles and eventually became invested with erotic significance as a result.{{rp|page=132}} After authorities rescinded a ban on wig-wearing by {{Transliteration|ja|onnagata}} and {{Transliteration|ja|wakashū}} actors, the {{Transliteration|ja|murasaki bōshi}} was replaced by a wig and now survives in a few older plays and as a ceremonial accessory.{{cite book|last=Leiter|first=Samuel L.|title=Historical dictionary of Japanese traditional theatre|publisher=Rowman & Littlefield|year=2006|pages=251|isbn=0-8108-5527-5}}

= Meiji era and beyond =

During the Meiji era, the ban on women performing was lifted, and women began performing in kabuki performances where they played onnagata roles. This was more uncommon as it was standard for onnagata to be an artistically feminine performance played by a male actor who underwent training to learn the role.{{Cite journal |last=Isaka |first=Maki |date=2006 |title=Women "Onnagata" in the Porous Labyrinth of Femininity: On Ichikawa Kumehachi I |url=https://www.jstor.org/stable/42771946 |journal=U.S.-Japan Women's Journal |issue=30/31 |pages=105–131 |jstor=42771946 |issn=2330-5037}} In contemporary kabuki performance, onnagata is a separate theatrical role with different training that is separate from actual women in society.

After film was introduced in Japan at the end of the 19th century, the {{Transliteration|ja|oyama}} continued to portray females in movies until the early 1920s. At that time, however, using real female actresses was coming into fashion with the introduction of realist {{Transliteration|ja|shingeki}} films. The {{Transliteration|ja|oyama}} staged a protest at Nikkatsu in 1922 in backlash against the lack of work because of this.

''Onnagata'' performance techniques

File:藤娘 (8655848119).jpg

Every kabuki actor is expected to have facility with {{Transliteration|ja|onnagata}} techniques. These include learning {{Transliteration|ja|onnagata}} makeup, which is vastly different from that of a male character's, and adopting traditional feminine mannerisms specific to the role of the onnagata.{{Cite journal |last=Leiter |first=Samuel L. |date=1999 |title=From Gay to Gei: The Onnagata and the Creation of Kabuki's Female Characters |url=https://www.jstor.org/stable/41154044 |journal=Comparative Drama |volume=33 |issue=4 |pages=495–514 |jstor=41154044 |issn=0010-4078}} Some of the techniques that {{Transliteration|ja|onnagata}} actors have to master with years of training and research include being able to move gracefully across the stage when wearing geta, adopting a more feminine posture and physical mannerisms like slouched shoulders and bending knees, and speaking at a higher pitch (falsetto) throughout the entire performance. The falsetto used by the onnagata performers is not meant to be an exact imitation of the female voice. Instead, onnagata imitate typical vocal intonations associated with femininity. The type of falsetto varies depending on the specific role that the onnagata is performing.{{Cite web |date=2016-12-21 |title="Female Voices in Male Bodies": Castrati, Onnagata, and the Performance of Gender through Ambiguous Bodies and Vocal Acts |url=https://web.archive.org/web/20161221055313/http://dspace.library.uu.nl/handle/1874/31542 |access-date=2024-11-01 |website=web.archive.org}} Many actors specialise in {{Transliteration|ja|onnagata}} roles, such as Bandō Tamasaburō V.

File:Hishikawa Morofusa Two Actors Combing Hair c1700.jpg|alt=Handpainted scroll attributed to Hishikawa Morofusa, titled "Two Actors Combing Hair", circa 1700; showing an {{Transliteration|ja|onnagata}} (female-role actor) combing the hair of a {{Transliteration|ja|wakashū-gata}} (actor specializing in adolescent male roles).|"Two Actors Combing Hair"; handpainted ukiyo-e scroll attributed to Hishikawa Morofusa, circa 1700. An {{Transliteration|ja|onnagata}} wearing a purple headscarf combs the hair of a {{Transliteration|ja|wakashū-gata}} (identifiable by his forelocks and partially shaved head).

File:Actors in 1860.jpg|Nakamura Shikan IV and Sawamura Tanosuke III in courtesan roles. Print by Toyokuni in 1860, the year of Sawamura's debut under that name on the kabuki stage.

File:Utaemon Nakamura V as Yodo-gimi in Hototogisu Kojō no Rakugetsu.jpg|Nakamura Utaemon V (1866–1940) as Yodo-gimi in the kabuki play {{Transliteration|ja|Hototogisu Kojō no Rakugetsu}}

File:Utaemon Nakamura VI 1951.jpg|Nakamura Utaemon VI in costume for a female kabuki role in {{Transliteration|ja|Musume Dōjōji}}, 1951.

File:TachibanaDaigoro-Miyoshibashi.JPG|Popular {{Transliteration|ja|onnagata}} Daigoro Tachibana dancing in a performance at the Miyoshibashi Theatre in Yokohama, November 2007. His crest can be seen on the red curtain behind him.

File:BandoTamasaburoV Nihonbashi Dec2012.jpg|Bandō Tamasaburō V (center) in kabuki play {{Transliteration|ja|Nihonbashi}} (December 2012)

In popular culture

File:Mana moi dix mois.jpg, a self-identified {{Transliteration|ja|onnagata}} musician.]]

The influence of {{Transliteration|ja|onnagata}} on Japanese culture has played an important part in the visual kei genre. The subculture emphasizes gender-nonconforming expression, and self-identified male performers who adopt female clothing within the genre are sometimes referred to as {{Transliteration|ja|onnagata}}.{{cite journal | last=Johnson | first=Adrienne Renee | title=Josōor "gender free"? Playfully queer "lives" in visualkei | journal=Asian Anthropology | publisher=Informa UK Limited | volume=19 | issue=2 | date=2020-04-02 | issn=1683-478X | doi=10.1080/1683478x.2020.1756076 | pages=119–142| s2cid=221063774 }} Japanese music website Barks credits the increase in {{Transliteration|ja|onnagata}} band members to the band Malice Mizer, due to the influence of its guitarist and co-founder Mana. Mana himself has said that he wanted to be the ultimate {{Transliteration|ja|onnagata}}.{{cite web|title=【インタビュー】Mana × Közi、MALICE MIZERを語る「Kamiの約束が実現できる」|url=https://www.barks.jp/news/?id=1000158491&page=3|work=Barks|language=Japanese |date=2018-08-29 |accessdate=2021-01-02}}

In the United States, one of the more well-known {{Transliteration|ja|onnagata}} is Gia Gunn (real name Gia Ichikawa), a Japanese-American drag queen who began performing as an {{Transliteration|ja|onnagata}} when she was five years old.{{cite web | title=Season 6 Spotlight: Gia Gunn | website=Drag Official | url=https://www.dragofficial.com/archives/season-6-spotlight-gia-gunn | access-date=2025-05-12}} She mentioned this experience during her tenure on the sixth season of Rupaul's Drag Race, crediting it as one of the inspirations for her drag.{{cite thesis |last=Larson |first=Trae |date=June 2021 |title=Kabuki as a Women’s Performing Art |url=https://conservancy.umn.edu/server/api/core/bitstreams/f424b804-9567-4389-9ce1-a1151495cbab/content |degree=Masters of Arts |publisher=University of Minnesota |access-date=2025-05-12}} After the sixth season of Drag Race, she came out as a trans woman, crediting her first exposure to gender nonconformity back to her performances as a child: "I guess at the time, I didn't even realize that years later this would have resonated with me on a much more personal and deeper level".{{cite web | title=RuPaul’s Drag Race Star Gia Gunn Fiercely Advocates for the Trans Community | website=YouTube | date=2024-03-06 | url=https://www.youtube.com/watch?v=KAiq9n5t5JQ | access-date=2025-05-12}} Later, during her return to Drag Race for the fourth season of All Stars, her entry to the first episode's talent competition was a short kabuki performance in drag that incorporated a blend of traditional and modern elements.