근대 가부키의 개량과 해외 공연

Abstract

In this paper, I investigate how Kabuki, through targeted “improvement” during the Meiji Era, was transformed into a theatrical performance which could be introduced abroad and favorably represent the nation. I also examine, from the aspect of policies related to classical entertainment considering foreigners, what the performance organizers and the Japanese government attempted to present at the first overseas Kabuki performance. In the Meiji era, audiences at Kabuki performances included the Emperor, domestic high-ranking officials, and distinguished foreign guests. Even during the Meiji Era, Kabuki, which had been subject to several crackdowns during the Edo period, was treated as a “useless respite to the nation” and met with demands for improvement due to external reasons. In addition to the construction of modern western-style theaters, reforming Kabuki performances’ nonsensical plots and obscene content was a top priority. In the response and reaction of the Ministry of Foreign Affairs to the first official overseas performance of Kabuki, it was found that Kabuki performances served as important national events capable of influencing the international status of the Japanese nation.