Takarazuka Revue

acting, atmosphere and gender in Japanese musical

Authors

Keywords:

Takarazuka, Theater, Japan, Musical, Otokoyaku

Abstract

This article exposes the elements that legitimize the takarazuka musical theater, founded at the beginning of the 20th century, as a performative language. It starts with two shows, Rose of Versailles and Once upon a time in America, highlighting three elements of analysis: acting methodology, scenic atmosphere and gender performance. It infers the subversion of the woman's role as an artist and the negotiation between current gender standards through small reinventions and inherited technical attributes. Takarazuka performativity resorts to artistic and commercial choices that promote the friction and fantasy of genders, in addition to aligning political precepts from the feudal era with modernism.

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Author Biography

Daniel Ribeiro Fernandes Aleixo, Universidade Estadual de Campinas – UNICAMP, Campinas/SP, Brazil

Daniel Ribeiro Fernandes Aleixo is a Master's degree student at the Graduate Program in Japanese Language, Literature and Culture at the Universidade de São Paulo. He is Bachelor in Performing Arts from the Universidade Estadual de Campinas (2016-2022), having carried out an exchange program at the Tokyo University of Foreign Studies (TUFS) (2019-2020) through JASSO. His research trajectory integrates the Japanese counterculture with regard to Tatsumi Hijikata's butoh dance, Angura theater and Japanese marginal cinema. He is currently a member of the Núcleo Experimental de Butô as a performer and researcher and of Fujima Ryu Brasil as an actor and Kabuki dancer.

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Published

2023-07-06

How to Cite

Aleixo, D. R. F. (2023). Takarazuka Revue: acting, atmosphere and gender in Japanese musical. Brazilian Journal on Presence Studies, 13(3), 1–26. Retrieved from https://seer.ufrgs.br/index.php/presenca/article/view/131281

Issue

Vol. 13 No. 3 (2023): Jul./Set.2023

Section

Other Themes

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