Titlebook: Beautiful Boys/Outlaw Bodies; Devising Kabuki Fema Katherine Mezur Book 2005 Katherine Mezur 2005 feminism.gender.Kabuki.theatre

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https://doi.org/10.1057/9780230373556ystem of multiple and variable genders based on and articulated by the male body beneath. Gender role types were part of the policing regime of the Edo period . In its early stages, . were required to register as onnagata. These early wonder boys already knew the power of fashion and transformation.

LUMEN

https://doi.org/10.1007/978-3-030-11382-7duce this alchemy of female-likeness? How do they transform their male bodies beneath? What physical acts subtly heighten their erotic sensual allure? How do they control and painstakingly reshape their bodies? How do eighty-year-old onnagata perform . roles with the fragrance of youth? How do onnag

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https://doi.org/10.1057/9781403979131feminism; gender; Kabuki; theatre

哀求

Transforming Genders,, women and men performed in the formative stages of kabuki performance. Beginning with kabuki’s female founder, Izumo no Okuni (act. 1603–1619)—both women and men frequently played different gender roles. With the official government edict in 1629 that prohibited women from performing in public, me

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Star Designing and Myth Making,ter generation of onnagata learned the innovations of star onnagata and assimilated their outstanding patterns. The star onnagata innovations became part of a “loosely fixed” system of onnagata gender acts that comprise the stylized onnagata performance . (forms) of contemporary kabuki. Each star pe

Tincture

Modernity, Nation, and Eros: Boys Versus Women,of great upheaval and radical transformation for all of Japanese culture. Kabuki was elevated from its popular entertainment status to an official form of classical theatre, and kabuki performers were finally recognized as citizens. However, in the rush toward modernization, onnagata were among the