A "New Onnagata:" The Performing Aesthetics of Bando Tamasaburo''s Onnagata Art

• Main Authors: Pu-Chi Hung, 洪譜棋
• Other Authors: 林于竝
• Format: Others
• Language: zh-TW
• Published: 2015
• Online Access: http://ndltd.ncl.edu.tw/handle/83548584158067823611

碩士 === 國立臺北藝術大學 === 戲劇學系碩士班 === 103 === Under the drive of trying to "finding the link between the onnagata tradition and other forms of theater," contemporary onnagata, Bando Tamasaburo, started his experiment by making a journey tracing back to the development and change of Kabuki, in which he went from Kabuki to Shinpa, from Shinpa to translated plays, and then into film acting. After that he began to broaden the boundary of onnagata performance into new areas such as ballet, cooperation with foreign artists and Kunqu. Furthermore, he complemented what he learned from these experiences to his own subversive, unique characters and aesthetic concepts, brining new stimulus to his kabuki performance, not only created new possibilities to onnagata performance but also enriched the picture on kabuki stage. And it is actually the existing characters in traditional Japanese theater that enables his cross-disciplinary onnagata performance: creative inheritance, diversity and multiplicity. Bando Tamasaburo''s journey of cross-disciplinary onnagata performance left kabuki stage, but it didn''t leave the aesthetics and spirit of kabuki. He keeps practicing his new onnagata performing aesthetics of freedom, openness and plurality in the rich ground of Japanese theater.