Kabuki Plus
Spider plays
The term “earth spider” generally refers to spiders who cast their nests in the ground, but also to an ancient tribe that was terminated for refusing to follow the Yamato imperial family. The separate legends of this tribe and Minamoto Yorimitsu (Raiko) were combined, showing the latter exterminating the spider. Numerous Kabuki dance dramas using spiders were created in the 18th century. The standard setting is that the spider spirit visits and attacks the bedridden Raiko. In the early days of Kabuki, the dances were performed by female-role specialists, but they were gradually taken over by male-role specialists and came to be given underlying stories.
Spider web
notable!The casting of the web when the spider spirit reveals his identity is thrilling and beautiful. When Kikugoro V introduced the play, he learned how to cast the web from the Noh actor Kongo Tadaichi in a secret trick from the Noh world called the “thousand strands”. In Kabuki, the web is made by rolling up a soft core of copper wire in two layers of Japanese paper and cutting it into sections like a sushi roll. The outer layer is removed and rubbed loosely in the hand, and thrown directly upwards. The threads then radiate in all directions. Casting the web beautifully while playing the evil role requires keen training. The web can only be used once. They are usually produced by the students of the actor playing the spider role.
Tsukurimono mound
The mound of the spider spirit is called a tsukurimono. It is made of bamboo frames covered by a white cloth. This is more a symbol of a mound than an actual representation, inspired by the austerity of the original Noh play.
Entrance and exit of monk
notable!The entrance and exit of the monk Chichu is unique. When an actor makes his entrance from the back of the theatre onto the hanamichi, the curtain is usually opened with a loud swish to alert the audience, and a spotlight follows the actor. Chichu, however, appears quietly in dim lighting. This characterizes a spider, who slips in quietly in order to hide his movements. It is important that he maintain a mysterious atmosphere with a sharp and focused look to bring chills to the audience. In his exit, he hunches down and quickly vanishes like a spider crawling away.
Aikyogen comic relief
The dance of the retainers after the revelation of the monk’s identity provides comic relief. It is akin to the kyogen plays performed between Noh dramas. This lightens the tension between the grave atmosphere of the first half and the frantic development of the remainder. The scene has a number of comic moments such as the argument between the married couple and the revelation when the “stone god” is revealed to be a man in disguise. The scene is unrelated to the main story, providing a contrast to the overall play. In the play’s debut in 1881, this scene appears to have been different from the current dance.
