Page:Sketches of Tokyo Life (1895).djvu/43

From Wikisource
Jump to navigation Jump to search
This page has been proofread, but needs to be validated.
THE ACTOR AND THE STAGE.
23

at present six great and twelve small theatres in Tokyo. Besides the difference in size, the small theatres are distinguished from the others by the use of drop-curtains instead of sliding ones, and the absence of revolving stages. In such low esteem were they held that an actor of a great theatre lost caste by appearing at any of the small theatres. But the latter being more frequently open than the the great theatres have taken to them as they have there a constant occupation, besides receiving a higher consideration from the management. This restriction against small theatres was, therefore, lately removed as it had failed to deter these actors.

GROUND-PLAN OF THE KABUKIZA THEATRE.
GROUND-PLAN OF THE KABUKIZA THEATRE.

GROUND-PLAN OF THE KABUKIZA THEATRE.

A.—Double Revolving Stage (in two concentric circles). B.—Pit. C.—Side-boxes. D.—Entrance-passages. E.—Passages. F.—Promenades. G.—Entrance-court. H.—Manager’s Offices. J.—Green-room. K.—Stage-door. L.—Orchestra.
The Kabukiza, one of the most commodious theatres built in the semi-European style in Tokyo, was opened in November, 1889.

Though Saruwaka Kanzaburo had opened his theatre in 1624, in which he himself performed, it was not until half a century later that the first great actor arose. Horikoshi Ebizo, who was born in 1660 of poor but respectable parents, went early on the stage and soon earned a high reputation. Under the stage-name of Ichikawa Danjuro