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Lil Wayne albums discography
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For singles by Lil Wayne, see Lil Wayne singles discography. For music videos by Lil Wayne, see Lil Wayne videography.
Lil Wayne albums discography
Lil Wayne performing in New York City
Studio albums
12
Compilation albums
3
EPs
2
Mixtapes
25
American rapper Lil Wayne has released twelve studio albums, one collaborative album, three compilation albums, two extended plays, and twenty mixtapes. Wayne made his album debut in 1999, with Tha Block Is Hot, which was certified platinum by the Recording Industry Association of America. His later albums, Lights Out released in 2000, and 500 Degreez, released in 2002, attracted minor attention. In 2004, he released the first of his infamous Carter series, with Tha Carter. In 2005, Tha Carter II was released. In 2006, Wayne released a collaborative album with rapper Birdman, titled Like Father, Like Son. In 2008, Wayne released his best-selling album so far, titled Tha Carter III. Certified triple platinum by the RIAA,[1] Tha Carter III won the Best Rap Album award at the 2009 Grammy Awards.[2] Lil Wayne founded record label Young Money Entertainment and released a collaborative album featuring rappers signed to the label, We Are Young Money, in 2009, followed by his debut rock music album Rebirth in 2010. While serving an 8-month prison sentence in New York he released another album entitled I Am Not a Human Being, in September 2010. The latest addition to Tha Carter series, Tha Carter IV, was released on August 29, 2011. In 2013, Wayne released a sequel to his 2010 album I Am Not a Human Being, titled I Am Not a Human Being II, followed by two compilation albums with his labels, Rich Gang (2013), and Young Money: Rise of an Empire (2014). Tha Carter V was released on September 28, 2018.
As of 2015, all of Wayne's albums have been certified at least gold by the RIAA. His album sales in the United States stand at over 15 million copies as of July 2013,[3] and his digital track sales stand at over 37 million digital copies.[4]
Contents
1 Studio albums
2 Compilation albums
3 Extended plays
4 Mixtapes
5 See also
6 References
7 External links
Studio albums
List of studio albums, with selected chart positions, sales figures and certifications
Title
Album details
Peak chart positions
Sales
Certifications
US
[5]
US
R&B
[6]
US
Rap
[7]
AUS
[8]
CAN
[9]
FRA
[10]
IRL
[11]
NZ
[12]
SWI
[13]
UK
[14]
Tha Block Is Hot
Released: November 2, 1999[15]
Label: Cash Money, Universal
Formats: CD, LP, cassette
3 1 — — — — — — — —
US: 1,402,000[16]
RIAA: Platinum[1]
Lights Out
Released: December 19, 2000[17]
Label: Cash Money, Universal
Formats: CD, LP, cassette
16 2 — — — — — — — —
RIAA: Gold[1]
500 Degreez
Released: July 23, 2002[18]
Label: Cash Money, Universal
Format: CD, LP, digital download
6 1 — — — — — — — —
RIAA: Gold[1]
Tha Carter
Released: June 29, 2004[19]
Label: Cash Money, Universal
Format: CD, LP, digital download
5 2 1 — — — — — — —
US: 878,000[20]
RIAA: Gold[1]
Tha Carter II
Released: December 6, 2005[21]
Label: Cash Money, Universal
Formats: CD, LP, digital download
2 1 1 — 26 — — — — —
US: 1,400,000[22]
RIAA: Platinum[1]
Like Father, Like Son
(with Birdman)
Released: October 31, 2006[23]
Label: Cash Money, Universal
Formats: CD, LP, digital download
3 1 1 — — — — — — —
RIAA: Gold[1]
Tha Carter III
Released: June 10, 2008[24]
Label: Cash Money, Universal Motown
Format: CD, LP, digital download
1 1 1 47 1 25 34 10 17 23
US: 3,800,000[25]
RIAA: 3× Platinum[1]
BPI: Gold[26]
MC: 2× Platinum[27]
Rebirth
Released: February 2, 2010[28]
Label: Cash Money, Young Money, Universal Motown
Format: CD, LP, digital download
2 1 1 51 5 86 45 33 15 24
US: 778,000[29]
RIAA: Gold[1]
I Am Not a Human Being
Released: September 27, 2010[30]
Label: Cash Money, Young Money, Universal Motown
Format: CD, LP, digital download
1 1 1 60 4 167 84 — 46 56
US: 953,000[29]
RIAA: Gold[1]
Tha Carter IV
Released: August 29, 2011[31]
Label: Cash Money, Young Money, Universal Republic
Formats: CD, LP, digital download
1 1 1 9 1 14 19 8 9 8
US: 2,296,000[32]
World: 3,500,000[33]
RIAA: 2× Platinum[1]
BPI: Silver[26]
I Am Not a Human Being II
Released: March 26, 2013[34]
Label: Young Money, Cash Money, Republic
Formats: CD, LP, digital download
2 2 1 43 5 24 85 — 35 29
US: 529,000[35]
RIAA: Gold[1]
MC: Gold[27]
Free Weezy Album
Released: July 4, 2015[36]
Label: Young Money, Republic
Formats: Streaming audio
— — — — — — — — — —
Tha Carter V
Released: September 28, 2018
Label: Young Money, Republic, Universal
Formats: CD, LP, digital download
1 1 1 6
[37] 1 — 5
[38] 3
[39] 12 5
US: 141,000[40]
"—" denotes a recording that did not chart or was not released in that territory.
Compilation albums
List of compilation albums, with selected chart positions and certifications
Title
Album details
Peak chart positions
Certifications
US
[41]
US
R&B
[42]
US
Rap
[43]
We Are Young Money
(as part of Young Money)
Released: December 21, 2009[44]
Label: Young Money, Cash Money, Republic
Formats: CD, digital download
9 3 1
RIAA: Gold[45]
Rich Gang
(as part of Rich Gang)
Released: July 23, 2013[46]
Label: Young Money, Cash Money, Republic
Formats: CD, digital download
9 2 2
Rise of an Empire
(as part of Young Money)
Released: March 11, 2014[47]
Label: Young Money, Cash Money, Republic
Formats: CD, digital download
7 4 2
Extended plays
List of extended plays
Title
EP details
The Leak
Released: December 25, 2007[48]
Label: Cash Money
Formats: Digital download
In Tune We Trust
Released: July 5, 2017[49]
Label: Young Money
Format: Streaming audio
Mixtapes
List of mixtapes, with selected chart positions
Title
Album details
Peak chart positions
US
[5]
US
Ind.
[50]
US
R&B
[6]
US
Rap
[7]
SQ1
(with Sqad Up)
Released: 2002[51]
Formats: Digital download
— — — —
SQ2
(with Sqad Up)
Released: 2002[52]
Formats: Digital download
— — — —
SQ3
(with Sqad Up)
Released: 2002[53]
Formats: Digital download
— — — —
SQ4
(with Sqad Up)
Released: 2002[54]
Formats: Digital download
— — — —
SQ5
(with Sqad Up)
Released: 2003[55]
Formats: Digital download
— — — —
SQ6
(with Sqad Up)
Released: 2003[56]
Formats: Digital download
— — — —
SQ6: Tha Remix
(with Sqad Up)
Released: 2003[57]
Formats: Digital download
— — — —
SQ7 (10,000 Bars)
(with Sqad Up)
Released: 2003[58]
Formats: Digital download
— — — —
Da Drought
Released: 2003[59]
Label: Cash Money
Formats: Digital download
— — — —
Da Drought 2
Released: 2004[60]
Label: Cash Money
Formats: Digital download
— — — —
The Prefix
Released: February 2004[61]
Label: Cash Money
Formats: Digital download
— — — —
Young Money: The Mixtape Vol. 1
(with Young Money)
Released: October 6, 2005[62]
Label: Young Money
Format: Digital download
— — — —
The Suffix
Released: November 20, 2005[63][64]
Label: Cash Money
Formats: Digital download
— — — —
The Dedication
Released: December 13, 2005[65]
Label: On the Low
Formats: Digital download
— — 93 —
Dedication 2
Released: September 4, 2006[66]
Label: BCD
Formats: Digital download
— 30 85 —
Da Drought 3
Released: May 11, 2007[67]
Label: Young Money
Formats: Digital download
— — — —
Dedication 3
Released: December 16, 2008[68]
Label: Aphilliates
Formats: Digital download
111 12 28 9
No Ceilings
Released: October 31, 2009[69]
Label: Cash Money, Young Money
Formats: Digital download
— — — —
Sorry 4 the Wait
Released: July 13, 2011[70]
Label: Cash Money, Young Money
Formats: Digital download
— — — —
Dedication 4
Released: September 3, 2012[71]
Label: Young Money, Aphilliates
Formats: Digital download
— — 56 —
Dedication 5
Released: September 1, 2013[72]
Label: Young Money
Formats: Digital download
— — — —
Sorry 4 the Wait 2
Released: January 20, 2015[73]
Label: Young Money
Formats: Digital download
— 49 47 —
No Ceilings 2
Released: November 26, 2015[73]
Label: Young Money
Formats: Digital download
— — — —
T-Wayne
(with T-Pain)
Released: May 18, 2017[74]
Label: Nappy Boy
Format: Digital download
— — — —
Dedication 6
Released: December 25, 2017[75]
Label: Young Money
Formats: Digital download
— — — —
Dedication 6: Reloaded
Released: January 26, 2018[76]
Label: Young Money
Formats: Digital download
— — — —
"—" denotes releases that did not chart or were not released in that territory.
See also
Lil Wayne singles discography
Lil Wayne videography
References
^ Jump up to: a b c d e f g h i j k l "Gold & Platinum: Lil Wayne". Recording Industry Association of America. Archived from the original on December 27, 2015. Retrieved August 21, 2013.
Jump up ^ "The 51st Annual Grammy Awards Winners List". National Academy of Recording Arts and Sciences. 2009. Archived from the original on November 5, 2009. Retrieved March 30, 2010.
Jump up ^ Paul Grein (July 17, 2013). "Week Ending July 14, 2013. Albums: Jay-Z Back On The Throne". Chart Watch.
Jump up ^ Loynes, Anna (January 5, 2012). "The Nielsen Company & Billboard's 2011 Music Industry Report". Business Wire. Retrieved May 15, 2012.
^ Jump up to: a b "Lil Wayne Chart History: Billboard 200". Billboard. Retrieved September 26, 2018.
^ Jump up to: a b "Lil Wayne Chart History: R&B/Hip-Hop Albums". Billboard. Retrieved September 26, 2018.
^ Jump up to: a b "Lil Wayne Chart History: Rap Albums". Billboard. Retrieved September 26, 2018.
Jump up ^ Peak chart positions for albums in Australia:
Tha Carter III, Tha Carter IV and I Am Not a Human Being II: "Discography Lil Wayne". australian-charts.com. Retrieved July 20, 2011.
Rebirth: "The ARIA Report: Issue 1042 (Week Commencing 15 February 2010)" (PDF). Australian Recording Industry Association. p. 2. Retrieved September 28, 2011.
I Am Not a Human Being: "The ARIA Report: Issue 1078 (Week Commencing 25 October 2010)" (PDF). Australian Recording Industry Association. p. 2. Retrieved September 28, 2011.
Jump up ^ "Lil Wayne Chart History: Canadian Albums". Billboard. Retrieved September 26, 2018.
Jump up ^ "Discographie Lil Wayne". lescharts.com (in French). Retrieved August 23, 2013.
Jump up ^ "Discography Lil Wayne". irish-charts.com. Retrieved August 21, 2013.
Jump up ^ "Discography Lil Wayne". charts.org.nz. Retrieved August 21, 2013.
Jump up ^ "Discographie Lil Wayne" (select "Charts" tab). swisscharts.com (in Swiss German). Retrieved 24 September 2012.
Jump up ^ "Lil' Wayne" (select "Albums" tab). Official Charts Company. Retrieved September 26, 2018.
Jump up ^ Birchmeier, Jason. "Tha Block Is Hot – Lil Wayne". AllMusic. Retrieved August 23, 2013.
Jump up ^ Ramirez, Erika (March 25, 2013). "Lil Wayne's Top 10 Biggest Career Moments". Billboard. Retrieved August 23, 2013.
Jump up ^ "Lights Out". Amazon.com. Retrieved August 23, 2013.
Jump up ^ "500 Degreez". Amazon.com. Retrieved August 23, 2013.
Jump up ^ Kellman, Andy. "Tha Carter – Lil Wayne". AllMusic. Retrieved August 23, 2013.
Jump up ^ "Lil Wayne Nabs Kurupt, Lil' Mo For New CD". Billboard. Retrieved August 23, 2013.
Jump up ^ Jeffries, David. "Tha Carter II – Lil Wayne". AllMusic. Retrieved August 23, 2013.
Jump up ^ Concepcion, Mariel (March 25, 2008). "Lil Wayne's 'Carter III' Finally Has Street Date". Billboard. Retrieved April 25, 2012.
Jump up ^ Jeffries, David. "Like Father, Like Son – Birdman / Lil Wayne". AllMusic. Retrieved August 23, 2013.
Jump up ^ Jeffries, David. "Tha Carter III – Lil Wayne". AllMusic. Retrieved August 23, 2013.
Jump up ^ Christman, Ed (July 28, 2011). "Jay-Z and Kanye West's 'Watch the Throne' Exclusives Have Retailers Up in Arms". Billboard. Retrieved August 10, 2011.
^ Jump up to: a b "Certified Awards Search" (To access, enter the search parameter "Lil Wayne" and select "Search by Keyword"). British Phonographic Industry. Retrieved April 22, 2012.
^ Jump up to: a b "Canadian certifications – Lil Wayne". Music Canada. Retrieved April 29, 2012.
Jump up ^ Jeffries, David. "Rebirth – Lil Wayne". AllMusic. Retrieved August 23, 2013.
^ Jump up to: a b "Week Ending Sept. 4, 2011. Albums: Weezy Does It". Yahoo! Music. September 7, 2011. Archived from the original on October 13, 2011. Retrieved August 23, 2013.
Jump up ^ Jeffries, David. "I Am Not a Human Being – Lil Wayne". AllMusic. Retrieved August 23, 2013.
Jump up ^ Jeffries, David. "Tha Carter IV – Lil Wayne". AllMusic. Retrieved August 23, 2013.
Jump up ^ "Archived copy". Archived from the original on 2013-07-31. Retrieved 2013-07-29. CS1 maint: Archived copy as title (link)
Jump up ^ Alexis, Nadeska (April 13, 2012). "Lil Wayne Signs Four-Album Deal With Cash Money Records". MTV. Retrieved August 23, 2013.
Jump up ^ Jeffries, David. "I Am Not a Human Being II – Lil Wayne". AllMusic. Retrieved August 23, 2013.
Jump up ^ Paine, Jake (July 17, 2013). "Hip Hop Album Sales: The Week Ending 7/14/2013". HipHopDX. Retrieved July 18, 2013.
Jump up ^ Goble, Corban (July 4, 2015). "Lil Wayne Releases FWA". Pitchfork. Retrieved July 4, 2015.
Jump up ^ "ARIA Australian Top 50 Albums". Australian Recording Industry Association. October 8, 2018. Retrieved October 6, 2018.
Jump up ^ "Irish Albums Chart: 5 October 2018". Irish Recorded Music Association. Retrieved October 6, 2018.
Jump up ^ "NZ Top 40 Albums Chart". Recorded Music NZ. October 8, 2018. Retrieved October 5, 2018.
Jump up ^ Caulfield, Keith (October 7, 2018). "Lil Wayne's 'Tha Carter V' Debuts at No. 1 on Billboard 200 With Second-Largest Streaming Week Ever for an Album". Billboard. Retrieved October 8, 2018.
Jump up ^ Peak chart positions for compilation albums on the Billboard 200 chart:
All except Rich Gang: "Young Money Chart History: Billboard 200". Billboard. Retrieved September 26, 2018.
Rich Gang: "Rich Gang Chart History: Billboard 200". Billboard. Retrieved September 26, 2018.
Jump up ^ Peak chart positions for compilation albums on the Top R&B/Hip-Hop Albums chart:
All except Rich Gang: "Young Money Chart History: R&B/Hip-Hop Albums". Billboard. Retrieved September 26, 2018.
Rich Gang: "Rich Gang Chart History: R&B/Hip-Hop Albums". Billboard. Retrieved September 26, 2018.
Jump up ^ Peak chart positions for compilation albums on the Rap Albums chart:
All except Rich Gang: "Young Money Chart History: Rap Albums". Billboard. Retrieved September 26, 2018.
Rich Gang: "Rich Gang Chart History: Rap Albums". Billboard. Retrieved September 26, 2018.
Jump up ^ Jeffries, David. "We Are Young Money – Young Money". AllMusic.
Jump up ^ "American album certifications – Young Money – We Are Young Money". Recording Industry Association of America. Retrieved October 10, 2011. If necessary, click Advanced, then click Format, then select Album, then click SEARCH.
Jump up ^ Jeffries, David. "Rich Gang – Rich Gang". AllMusic.
Jump up ^ Jeffries, David. "Rise of an Empire – Young Money". AllMusic.
Jump up ^ "The Leak – EP by Lil Wayne". iTunes Store. Retrieved August 23, 2013.
Jump up ^ http://www.datpiff.com/Lil-Wayne-In-Tune-We-Trust-mixtape.852132.html
Jump up ^ "Lil Wayne Chart History: Independent Albums". Billboard. Retrieved September 26, 2018.
Jump up ^ "Lil Wayne, The Squad - SQ1". DatPiff.
Jump up ^ "Sqad Up, Lil Wayne - SQ2 - This is the sqad". DatPiff.
Jump up ^ "Lil Wayne, Sqad Up - SQ3". DatPiff.
Jump up ^ "Lil Wayne, The Sqad - SQ4". DatPiff.
Jump up ^ "Sqad Up, Lil Wayne - SQ5". DatPiff.
Jump up ^ "Lil Wayne And Sqad Up - SQ6 Hosted by Raj Smoove". DatPiff.
Jump up ^ {{cite web|url=http://www.datpiff.com/Lil-Wayne-And-Sqad-Up-SQ6-Tha-Remix-mixtape.309974.html
Jump up ^ "Sqad Up, Lil Wayne - SQ7". DatPiff.
Jump up ^ Cuenco, Candy. "Lil Wayne: About". omg!. Archived from the original on July 24, 2013. Retrieved August 23, 2013.
Jump up ^ Noz, Andrew (May 10, 2013). "The 100 Best Lil Wayne Songs – 74. Lil Wayne 'Get Out' (2004)". Complex. Retrieved August 23, 2013.
Jump up ^ "Frenemies: A History Of Lil Wayne & Jay-Z's Relationship – Lil Wayne Releases The Prefix, Raps Over Nine Jay-Z Songs". Complex. August 27, 2011. Retrieved August 23, 2013.
Jump up ^ "Young Money, Lil Wayne - Young Money Vol. 1 (Disc 1) Mixtape - Stream & Download". DatPiff. Retrieved 2015-07-11.
Jump up ^ mfizzel (2005-11-20). "Lil Wayne - The Suffix | MixtapeTorrent.com". Retrieved 2015-07-11.
Jump up ^ Breihan, Tom (April 20, 2007). "Lil Wayne: Still Ridiculously Great". The Village Voice. Archived from the original on August 6, 2012. Retrieved August 23, 2013.
Jump up ^ "Lil Wayne – The Dedication". DatPiff. December 13, 2005. Archived from the original on February 16, 2013. Retrieved August 23, 2013.
Jump up ^ Thurston, Jason. "Dedication 2 – Lil Wayne". AllMusic. Retrieved August 23, 2013.
Jump up ^ "Lil Wayne – Da Drought 3 – Disc 1". DatPiff. May 11, 2007. Archived from the original on February 1, 2013. Retrieved August 23, 2013.
Jump up ^ Purdom, Clayton. "Dedication 3 Gangsta Grillz – Lil Wayne". AllMusic. Retrieved August 23, 2013.
Jump up ^ Reid, Shaheem (October 28, 2009). "Lil Wayne No Ceilings Tracks Leak, But Full Mixtape Won't Drop Till Halloween". MTV. Retrieved August 23, 2013.
Jump up ^ "Sorry 4 the Wait – Lil Wayne". AllMusic. Retrieved August 23, 2013.
Jump up ^ Diep, Eric (August 30, 2012). "Lil Wayne's 'Dedication 4' Now Gets A September 3 Release Date". Complex. Retrieved August 23, 2013.
Jump up ^ Dharmic X. "Here's the Artwork for Lil Wayne's "Dedication 5," And a Possible Release Date". Complex.
^ Jump up to: a b "Lil Wayne - Sorry 4 The Wait 2 Hosted by Young Money Ent". DatPiff.
Jump up ^ "T-Pain & Lil Wayne - T-Wayne". SoundCloud. Retrieved 18 May 2017.
Jump up ^ http://www.datpiff.com/Lil-Wayne-Dedication-6-mixtape.847743.html
Jump up ^ http://www.datpiff.com/Lil-Wayne-D6-Reloaded-mixtape.877942.html
External links
Official website
hide
v
t
e
Lil Wayne
Albums discography
Singles discography
Awards and nominations
Videography
Studio albums
Tha Block Is Hot (1999)
Lights Out (2000)
500 Degreez (2002)
Tha Carter (2004)
Tha Carter II (2005)
Like Father, Like Son (2006)
Tha Carter III (2008)
Rebirth (2010)
I Am Not a Human Being (2010)
Tha Carter IV (2011)
I Am Not a Human Being II (2013)
Free Weezy Album (2015)
Tha Carter V (2018)
Compilations
We Are Young Money (2009)
Rich Gang (2013)
Young Money: Rise of an Empire (2014)
EPs
The Leak (2007)
In Tune We Trust (2017)
Mixtapes
The Dedication (2004)
Dedication 2 (2006)
Da Drought 3 (2007)
Dedication 3 (2008)
No Ceilings (2009)
Sorry 4 the Wait (2011)
Dedication 4 (2012)
Dedication 5 (2013)
Sorry 4 the Wait 2 (2015)
No Ceilings 2 (2015)
T-Wayne (2017)
Dedication 6 (2017)
Concert tours
I Am Music Tour
I Am Music II Tour
Drake vs. Lil Wayne
Bibliography
Gone Til' November: A Journal of Rikers Island (2016)
Related articles
Hot Boys
Sqad Up
Cash Money Millionaires
Cash Money Records
Young Money Entertainment
Birdman
ColleGrove
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Kabuki
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This article is about Japanese theater. For American political pretense, see Kabuki dance. For other uses, see Kabuki (disambiguation).
Not to be confused with noh theater.
The July 1858 production of Shibaraku at the Ichimura-za theater in Edo. Triptych woodblock print by Utagawa Toyokuni III.
Kabuki (歌舞伎) is a classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers.
The individual kanji, from left to right, mean sing (歌), dance (舞), and skill (伎). Kabuki is therefore sometimes translated as "the art of singing and dancing". These are, however, ateji characters which do not reflect actual etymology. The kanji of 'skill' generally refers to a performer in kabuki theatre. Since the word kabuki is believed to derive from the verb kabuku, meaning "to lean" or "to be out of the ordinary", kabuki can be interpreted as "avant-garde" or "bizarre" theatre.[1] The expression kabukimono (歌舞伎者) referred originally to those who were bizarrely dressed. It is often translated into English as "strange things" or "the crazy ones", and referred to the style of dress worn by gangs of samurai.
In 2005, the Kabuki theatre was proclaimed by UNESCO as an intangible heritage possessing outstanding universal value. In 2008, it was inscribed in the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.[2]
Contents
[hide]
1 History
1.1 1603–1629: Female kabuki
1.2 1629–1673: Transition to yarō-kabuki
1.3 1673–1841: Golden age
1.4 1842–1868: Saruwaka-chō kabuki
2 Kabuki after the Meiji period
2.1 Kabuki today
3 Elements of kabuki
3.1 Stage design
4 Performance
5 Play structure
6 Famous plays
7 Actors
8 Major theatres in operation
9 See also
10 Notations
11 References
12 External links
History[edit]
1603–1629: Female kabuki[edit]
The earliest portrait of Izumo no Okuni, the founder of kabuki (1600s)
The history of kabuki began in 1603 when Izumo no Okuni, possibly a miko of Izumo-taisha, began performing a new style of dance drama in the dry riverbeds of Kyoto. It originated in the 17th century.[3] Japan was under the control of the Tokugawa shogunate, enforced by Tokugawa Ieyasu.[4] The name of the Edo period derives from the relocation of the Tokugawa regime from its former home in Kyoto to the city of Edo, present-day Tokyo. Female performers played both men and women in comic playlets about ordinary life. The style was immediately popular, and Okuni was asked to perform before the Imperial Court. In the wake of such success, rival troupes quickly formed, and kabuki was born as ensemble dance and drama performed by women—a form very different from its modern incarnation. Much of its appeal in this era was due to the ribald, suggestive themes featured by many troupes; this appeal was further augmented by the fact that the performers were often also available for prostitution.[1] For this reason, kabuki was also called "遊女歌舞妓" (prostitute-singing and dancing performer) during this period.
Kabuki became a common form of entertainment in the ukiyo, or Yoshiwara,[5] the registered red-light district in Edo. A diverse crowd gathered under one roof, something that happened nowhere else in the city. Kabuki theaters were a place to see and be seen as they featured the latest fashion trends and current events. The stage provided good entertainment with exciting new music, patterns, clothing, and famous actors. Performances went from morning until sunset. The teahouses surrounding or connected to the theater provided meals, refreshments, and good company. The area around the theatres was filled with shops selling kabuki souvenirs. Kabuki, in a sense, initiated pop culture in Japan.
The shogunate was never partial to kabuki and all the mischief it brought, particularly the variety of the social classes which mixed at kabuki performances. Women’s kabuki, called onna-kabuki, was banned in 1629 for being too erotic.[6] Following onna-kabuki, young boys performed in wakashū-kabuki, but since they too were eligible for prostitution, the shogun government soon banned wakashū-kabuki as well.[6] Kabuki switched to adult male actors, called yaro-kabuki, in the mid-1600s.[7] Male actors played both female and male characters. The theatre remained popular, and remained a focus of urban lifestyle until modern times. Although kabuki was performed all over ukiyo and other portions for the country, the Nakamura-za, Ichimura-za and Kawarazaki-za theatres became the top theatres in ukiyo, where some of the most successful kabuki performances were and still are held.[4]
1629–1673: Transition to yarō-kabuki[edit]
The modern all-male kabuki, known as yarō-kabuki (young man kabuki), was established during these decades. After women were banned from performing, cross-dressed male actors, known as onnagata ("female-role") or oyama, took over. Young (adolescent) men were preferred for women's roles due to their less masculine appearance and the higher pitch of their voices compared to adult men. In addition, wakashū (adolescent male) roles, played by young men often selected for attractiveness, became common, and were often presented in an erotic context.[8] Along with the change in the performer's gender came a change in the emphasis of the performance: increased stress was placed on drama rather than dance. Performances were equally ribald, and the male actors too were available for prostitution (to both female and male customers). Audiences frequently became rowdy, and brawls occasionally broke out, sometimes over the favors of a particularly handsome young actor, leading the shogunate to ban first onnagata and then wakashū roles. Both bans were rescinded by 1652.[9]
1673–1841: Golden age[edit]
Oniji Ōtani III (Nakazō Nakamura II) as Edobee in the May 1794 production of Koi Nyōbo Somewake Tazuna
The two Kabuki actors Bando Zenji and Sawamura Yodogoro; 1794, fifth month by Sharaku
During the Genroku era, kabuki thrived. The structure of a kabuki play was formalized during this period, as were many elements of style. Conventional character types were established. Kabuki theater and ningyō jōruri, the elaborate form of puppet theater that later came to be known as bunraku, became closely associated with each other, and each has since influenced the other's development. The famous playwright Chikamatsu Monzaemon, one of the first professional kabuki playwrights, produced several influential works, though the piece usually acknowledged as his most significant, Sonezaki Shinjū (The Love Suicides at Sonezaki), was originally written for bunraku. Like many bunraku plays, it was adapted for kabuki, and it spawned many imitators—in fact, it and similar plays reportedly caused so many real-life "copycat" suicides that the government banned shinju mono (plays about lovers' double suicides) in 1723. Ichikawa Danjūrō I also lived during this time; he is credited with the development of mie[10] poses and mask-like kumadori make-up.[11]
1842–1868: Saruwaka-chō kabuki[edit]
Male actors played both female and male characters.[4]
Brooklyn Museum - Kabuki Scene (Diptych) - Hokushu
In the 1840s, fires started to affect Edo due to repeated drought. Kabuki theatres, traditionally made of wood, were constantly burning down, forcing their relocation within the ukiyo. When the area that housed the Nakamura-za was completely destroyed in 1841, the shogun refused to allow the theatre to be rebuilt, saying that it was against fire code.[7] The shogunate did not welcome the mixing and trading that occurred between town merchants and actors, artists, and prostitutes. The shogunate took advantage of the fire crisis in 1842 to force the Nakamura-za, Ichimura-za, and Kawarazaki-za out of the city limits and into Asakusa, a northern suburb of Edo. Actors, stagehands, and others associated with the performances were forced out as well. Those in areas and lifestyles centered around the theatres also migrated, but the inconvenience of the new location reduced attendance.[4] These factors, along with strict regulations, pushed much of kabuki "underground" in Edo, with performances changing locations to avoid the authorities.
The theatres' new location was called Saruwaka-chō, or Saruwaka-machi. The last thirty years of the Tokugawa shogunate's rule is often referred to as the Saruwaka-machi period. This period produced some of the gaudiest kabuki in Japanese history.[4] The Saruwaka-machi became the new theatre district for the Nakamura-za, Ichimura-za and Kawarazaki-za theatres. The district was located on the main street of Asakusa, which ran through the middle of the small city. The street was renamed after Saruwaka Kanzaburo, who initiated Edo kabuki in the Nakamura Theatre in 1624.[4]
European artists began noticing Japanese theatrical performances and artwork, and many artists (for example, Claude Monet) were inspired by Japanese wood block prints. This Western interest prompted Japanese artists to increase their depictions of daily life including theatres, brothels, main streets and so on. One artist in particular, Utagawa Hiroshige, did a series of prints based on Saruwaka from the Saruwaka-machi period in Asakusa.[4]
The relocation diminished the tradition's most abundant inspiration for costuming, make-up, and story line. Ichikawa Kodanji IV was one of the most active and successful actors during the Saruwaka-machi period. Deemed unattractive, he mainly performed buyō, or dancing, in dramas written by Kawatake Mokuami, who also wrote during the Meiji period to follow.[4] Kawatake Mokuami commonly wrote plays that depicted the common lives of the people of Edo. He introduced shichigo-cho (seven-and-five syllable meter) dialogue and music such as kiyomoto.[4] His kabuki performances became quite popular once the Saruwaka-machi period ended and theatre returned to Edo; many of his works are still performed.
In 1868, the Tokugawa shogunate fell apart. Emperor Meiji was restored to power and moved from Kyoto to the new capital of Edo, or Tokyo, beginning the Meiji period.[7] Kabuki returned to the ukiyo of Edo. Kabuki became more radical in the Meiji period, and modern styles emerged. New playwrights created new genres and twists on traditional stories.
Kabuki after the Meiji period[edit]
The November 1895 production of Shibaraku at Tokyo Kabukiza theater
Beginning in 1868 enormous cultural changes, such as the fall of the Tokugawa shogunate, the elimination of the samurai class, and the opening of Japan to the West, helped to spark kabuki's re-emergence. As the culture struggled to adapt to the influx of foreign ideas and influence, actors strove to increase the reputation of kabuki among the upper classes and to adapt the traditional styles to modern tastes. They ultimately proved successful in this regard—on 21 April 1887, the Meiji Emperor sponsored a performance.[12]
After World War II, the occupying forces briefly banned kabuki, which had strongly supported Japan's war since 1931;[13] however, by 1947 the ban had been rescinded.[14]
Kabuki today[edit]
The immediate post–World War II era was a difficult time for kabuki. Besides the war's physical devastation, many rejected the styles and thoughts of the past, kabuki among them.[15] Director Tetsuji Takechi's popular and innovative productions of kabuki classics at this time are credited with bringing about a rebirth of interest in kabuki in the Kansai region.[16] Of the many popular young stars who performed with the Takechi Kabuki, Nakamura Ganjiro III (b. 1931) was the leading figure. He was first known as Nakamura Senjaku, and this period in Osaka kabuki became known as the "Age of Senjaku" in his honor.[16]
Today, kabuki is the most popular of the traditional styles of Japanese drama—and its star actors often appear in television or film roles.[17] For example, the well-known onnagata Bandō Tamasaburō V has appeared in several (non-kabuki) plays and movies, often in a female role. Kabuki appears in works of Japanese popular culture such as anime. In addition to the handful of major theatres in Tokyo and Kyoto, there are many smaller theatres in Osaka and throughout the countryside.[18] The Ōshika Kabuki troupe,[19] based in Ōshika, Nagano Prefecture, is one example.[20]
Some local kabuki troupes today use female actors in onnagata roles. The Ichikawa Shōjo Kabuki Gekidan, an all-female troupe, debuted in 1953 to significant acclaim but failed to start a new trend.[21]
The introduction of earphone guides in 1975,[22] including an English version in 1982,[22] helped broaden the art's appeal. As a result, in 1991 the Kabuki-za, one of Tokyo's best known kabuki theaters, began year-round performances[22] and, in 2005, began marketing kabuki cinema films.[23] Kabuki troupes regularly tour Asia,[24] Europe[25] and America,[26] and there have been several kabuki-themed productions of canonical Western plays such as those of Shakespeare. Western playwrights and novelists have experimented with kabuki themes, an example of which is Gerald Vizenor's Hiroshima Bugi (2004). Writer Yukio Mishima pioneered and popularized the use of kabuki in modern settings and revived other traditional arts, such as Noh, adapting them to modern contexts. There have even been kabuki troupes established in countries outside Japan. For instance, in Australia, the Za Kabuki troupe at the Australian National University has performed a kabuki drama each year since 1976,[27] the longest regular kabuki performance outside Japan.[28]
In November 2002 a statue was erected in honor of kabuki's founder Okuni and to commemorate 400 years of kabuki's existence.[29] Diagonally across from the Minami-za,[30] the last remaining kabuki theater in Kyoto,[30] it stands at the east end of a bridge (Shijō Ōhashi)[30] crossing the Kamo River in Kyoto.
Kabuki was inscribed on the UNESCO Intangible Cultural Heritage Lists in 2005.[31][32]
Elements of kabuki[edit]
Stage design[edit]
Shibai Ukie ("A Scene from A Play") by Masanobu Okumura (1686–1764), depicting Edo Ichimura-za theater in the early 1740s
The kabuki stage features a projection called a hanamichi (花道, "flower path"), a walkway which extends into the audience and via which dramatic entrances and exits are made. Okuni also performed on a hanamichi stage with her entourage. The stage is used not only as a walkway or path to get to and from the main stage, but important scenes are also played on the stage. Kabuki stages and theaters have steadily become more technologically sophisticated, and innovations including revolving stages and trap doors were introduced during the 18th century. A driving force has been the desire to manifest one frequent theme of kabuki theater, that of the sudden, dramatic revelation or transformation.[33] A number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations. The term keren (外連), often translated playing to the gallery, is sometimes used as a catch-all for these tricks. Hanamichi and several innovations including revolving stage, seri and chunori have all contributed to kabuki play. Hanamichi creates depth and both seri and chunori provide a vertical dimension.
Mawari-butai (revolving stage) developed in the Kyōhō era (1716–1735). The trick was originally accomplished by the on-stage pushing of a round, wheeled platform. Later a circular platform was embedded in the stage with wheels beneath it facilitating movement. The kuraten (“darkened revolve”) technique involves lowering the stage lights during this transition. More commonly the lights are left on for akaten (“lighted revolve”), sometimes simultaneously performing the transitioning scenes for dramatic effect. This stage was first built in Japan in the early eighteenth century.
Seri refers to the stage "traps" that have been commonly employed in kabuki since the middle of the 18th century. These traps raise and lower actors or sets to the stage. Seridashi or seriage refers to trap(s) moving upward and serisage or serioroshi to traps descending. This technique is often used to lift an entire scene at once.
Chūnori: Kunitarō Sawamura II as Kitsune Tadanobu (left) flying over the stage, in the August 1825 production of Yoshitsune Senbon Zakura
Chūnori (riding in mid-air) is a technique, which appeared toward the middle of the 19th century, by which an actor’s costume is attached to wires and he is made to "fly" over the stage and/or certain parts of the auditorium. This is similar to the wire trick in the stage musical Peter Pan, in which Peter launches himself into the air. It is still one of the most popular keren (visual tricks) in kabuki today; major kabuki theaters, such as the National Theatre, Kabuki-za and Minami-za, are all equipped with chūnori installations.[34]
Scenery changes are sometimes made mid-scene, while the actors remain on stage and the curtain stays open. This is sometimes accomplished by using a Hiki Dōgu, or small wagon stage. This technique originated at the beginning of the 18th century, where scenery or actors move on or off stage on a wheeled platform. Also common are stagehands rushing onto the stage adding and removing props, backdrops and other scenery; these kuroko (黒子) are always dressed entirely in black and are traditionally considered invisible. Stagehands also assist in a variety of quick costume changes known as hayagawari (quick change technique). When a character's true nature is suddenly revealed, the devices of hikinuki and bukkaeri are often used. This involves layering one costume over another and having a stagehand pull the outer one off in front of the audience.
Traditional striped black-red-green curtain, at the Misono-za in Nagoya
The curtain that shields the stage before the performance and during the breaks is in the traditional colours of black, red and green, in various order, or white instead of green, vertical stripes. The curtain consists of one piece and is pulled back to one side by a staff member by hand.
An additional outer curtain called doncho was not introduced until the Meiji era following the introduction of western influence. These are more ornate in their appearance and are woven. They depict the season in which the performance is taking place, often designed by renowned Nihonga artists.[35]
Performance[edit]
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The three main categories of kabuki play are jidaimono (時代物, historical, or pre-Sengoku period stories), sewamono (世話物, domestic, or post-Sengoku stories) and shosagoto (所作事, dance pieces).[36]
Jidaimono, or history plays, were set within the context of major events in Japanese history. Strict censorship laws during the Edo period prohibited the representation of contemporary events and particularly prohibited criticising the shogunate or casting it in a bad light, although enforcement varied greatly over the years. Many shows were set in the context of the Genpei War of the 1180s, the Nanboku-chō Wars of the 1330s, or other historical events. Frustrating the censors, many shows used these historical settings as metaphors for contemporary events. Kanadehon Chūshingura, one of the most famous plays in the kabuki repertoire, serves as an excellent example; it is ostensibly set in the 1330s, though it actually depicts the contemporary (18th century) affair of the revenge of the 47 rōnin.
The March 1849 production of Chūshingura at Edo Nakamura-za theater
Unlike jidaimono which generally focused upon the samurai class, sewamono focused primarily upon commoners, namely townspeople and peasants. Often referred to as "domestic plays" in English, sewamono generally related to themes of family drama and romance. Some of the most famous sewamono are the love suicide plays, adapted from works by the bunraku playwright Chikamatsu; these center on romantic couples who cannot be together in life due to various circumstances and who therefore decide to be together in death instead. Many if not most sewamono contain significant elements of this theme of societal pressures and limitations.
Important elements of kabuki include the mie (見得), in which the actor holds a picturesque pose to establish his character.[33] At this point his house name (yagō, 屋号) is sometimes heard in loud shout (kakegoe, 掛け声) from an expert audience member, serving both to express and enhance the audience's appreciation of the actor's achievement. An even greater compliment can be paid by shouting the name of the actor's father.
The main actor has to convey a wide variety of emotions between a fallen, drunkard person and someone who in reality is quite different since he is only faking his weakness, for example in the character of Yuranosuke in Chūshingura. This is called hara-gei or "belly acting", which means he has to perform from within to change characters. It is technically difficult to perform and takes a long time to learn, but once mastered the audience takes up on the actor's emotion.
Emotions are also expressed through the colours of the costumes, a key element in kabuki. Gaudy and strong colours can convey foolish or joyful emotions, whereas severe or muted colours convey seriousness and focus.
Keshō, kabuki makeup, provides an element of style easily recognizable even by those unfamiliar with the art form. Rice powder is used to create the white oshiroi base for the characteristic stage makeup, and kumadori enhances or exaggerates facial lines to produce dramatic animal or supernatural masks. The color of the kumadori is an expression of the character's nature: red lines are used to indicate passion, heroism, righteousness, and other positive traits; blue or black, villainy, jealousy, and other negative traits; green, the supernatural; and purple, nobility.[11]
Play structure[edit]
Kabuki, like other traditional forms of drama in Japan and other cultures, was (and sometimes still is) performed in full-day programs. Rather than attending for 2–5 hours, as one might do in a modern Western-style theater, audiences "escape" from the day-to-day world, devoting a full day to entertainment. Though some individual plays, particularly the historical jidaimono, might last an entire day, most were shorter and sequenced with other plays in order to produce a full-day program.
The structure of the full-day program, like the structure of the plays themselves, was derived largely from the conventions of bunraku and Noh, conventions which also appear in other traditional Japanese arts. Chief among these is the concept of jo-ha-kyū (序破急), which states that dramatic pacing should start slow, speed up, and end quickly. The concept, elaborated on at length by master Noh playwright Zeami, governs not only the actions of the actors, but also the structure of the play as well as the structure of scenes and plays within a day-long program.
Nearly every full-length play occupies five acts. The first corresponds to jo, an auspicious and slow opening which introduces the audience to the characters and the plot. The next three acts correspond to ha, speeding events up, culminating almost always in a great moment of drama or tragedy in the third act and possibly a battle in the second and/or fourth acts. The final act, corresponding to kyu, is almost always short, providing a quick and satisfying conclusion.[37]
The September 1824 production of Heike Nyogo-ga-shima at Kado-za theater in Osaka
While many plays were originally written for kabuki, many others were taken from jōruri plays, Noh plays, folklore, or other performing traditions such as the oral tradition of the Tale of the Heike. While jōruri plays tend to have serious, emotionally dramatic, and organized plots, plays written specifically for kabuki generally have looser, sillier plots.[38] One of the crucial differences in the philosophy of the two forms is that jōruri focuses primarily on the story and on the chanter who recites it, while kabuki focuses more on the actors. A jōruri play may sacrifice the details of sets, puppets, or action in favor of the chanter, while kabuki is known to sacrifice drama and even the plot to highlight an actor's talents. It was not uncommon in kabuki to insert or remove individual scenes from a day's schedule in order to cater to the talents or desires of an individual actor—scenes he was famed for, or that featured him, would be inserted into a program without regard to plot continuity.[38]
Kabuki traditions in Edo and in Kamigata (the Kyoto-Osaka region) were quite different. Through most of the Edo period, kabuki in Edo was defined by extravagance and bombast, as exemplified by stark makeup patterns, flashy costumes, fancy keren (stage tricks), and bold mie (poses). Kamigata kabuki, meanwhile, was much calmer and focused on naturalism and realism in acting. Only towards the end of the Edo period in the 19th century did the two regions adopt one another's styles to any significant degree.[39] For a long time, actors from one region often failed to adjust to the styles of the other region and were unsuccessful in their performance tours of that region.
Famous plays[edit]
Kanadehon Chūshingura (Treasury of Loyal Retainers) is the famous story of the Forty-seven rōnin, led by Oishi Kuranosuke, who track down their enemy and exact revenge upon him before committing seppuku as required by their code of honor upon the death of their lord, Lord Takuminokami of the Asano clan.[40]
Yoshitsune Senbon Zakura (Yoshitsune and the Thousand Cherry Trees) follows Minamoto no Yoshitsune as he flees from agents of his brother Yoritomo. Three Taira clan generals supposed killed in the Genpei War figure prominently, as their deaths ensure a complete end to the war and the arrival of peace, as does a kitsune named Genkurō.[41]
Sugawara Denju Tenarai Kagami (Sugawara and the Secrets of Calligraphy) is based on the life of famed scholar Sugawara no Michizane (845–903), who is exiled from Kyoto, and upon his death causes a number of calamities in the capital. He is then deified, as Tenjin, kami (divine spirit) of scholarship, and worshipped in order to propitiate his angry spirit.[40]
Actors[edit]
Shūmei ceremony (襲名) of Ichikawa En'ō II, Ichikawa Ennosuke IV and Ichikawa Chūsha IX at the Misono-za in Nagoya (March 2013)
Actors form schools or are associated with a particular theatre. Every actor has a stage name, which is different from the name they were born with. These stagenames, most often those of the actor's father, grandfather, or teacher, are passed down between generations of actors' lineages, and hold great honor and importance. Many names are associated with certain roles or acting styles, and the new possessor of each name must live up to these expectations; there is the feeling almost of the actor not only taking a name, but embodying the spirit, style, or skill of each actor to previously hold that name. Many actors will go through at least three names over the course of their career.
The shūmei (襲名, lit. name succession) are grand naming ceremonies held in Kabuki theatre in front of the audience. Most often, a number of actors will participate in a single ceremony, taking on new stage-names. Their participation in a shūmei represent their passage into a new chapter of their performing career.
Major theatres in operation[edit]
Exterior of Kabuki-za in Tokyo
Interior of Minami-za in Kyoto
Akita
Kosaka
Tokyo
Kabuki-za
Meiji-za
Shinbashi Enbujō
National Theater
Kyoto
Minami-za
Osaka
Shin-Kabuki-za
Osaka Shōchiku-za
Nagoya
Misono-za
Fukuoka
Hakata-za
Kagawa
Kotohira Kanamaru-za
See also[edit]
Japan portal
Theatre of Japan
Kanteiryū, a lettering style invented to advertise kabuki and other theatrical performances
Kyōgen, a traditional form of Japanese comic theatre that influenced the development of kabuki
Oshiguma, an imprint of the face make-up of kabuki actors, as artwork and souvenir
Noh, a traditional form of Japanese theatre
Bunraku, a traditional Japanese puppet theatre from whose scripts many kabuki plays were adapted
Kabuki actor lines, such as
Ichikawa Danjūrō
Ichikawa Ebizō
Matsumoto Kōshirō
Nakamura Kanzaburō
Sgt. Kabukiman NYPD, a 1991 comedic superhero film directed by Lloyd Kaufman and Michael Herz and distributed by Troma Entertainment.
Kabukibu!, a light novel, manga, and anime series about a boy who loves kabuki
Notations[edit]
^ Jump up to: a b "Kabuki" in Frederic, Louis (2002). Japan Encyclopedia. Cambridge, Massachusetts: Harvard University Press.
Jump up ^ https://ich.unesco.org/en/RL/kabuki-theatre-00163
Jump up ^ Haar 1971, p. 83
^ Jump up to: a b c d e f g h i Masato 2007
Jump up ^ Flynn, Patricia. "Visions of People: The Influences of Japanese Prints Ukiyo-e Upon Late Nineteenth and Early Twentieth Century French Art". Yale-New Haven Teachers Institute. Retrieved April 9, 2015.
^ Jump up to: a b Lombard, Frank Alanson (1928). An Outline History of the Japanese Drama. London: George Allen & Unwin LTD. pp. 287–295. ISBN 978-1-138-91983-9.
^ Jump up to: a b c Ernst 1956, pp. 10–12
Jump up ^ Leupp 1997, pp. 91–92
Jump up ^ Leupp 1997, p. 92
Jump up ^ "Mie". Kabuki Jiten. Retrieved 9 February 2007.
^ Jump up to: a b Kincaid, Zoe (1925). Kabuki: The Popular Stage of Japan. London: MacMillan and Co. pp21–22.
Jump up ^ Shōriya, Asagoro. Kabuki Chronology of the 19th century at Kabuki21.com (Retrieved 18 December 2006.)
Jump up ^ Brandon 2009
Jump up ^ Takemae, Eiji (2002) [1983]. The Allied Occupation of Japan. Robert Ricketts and Sebastian Swann (translators and adapters). New York & London: Continuum. pp. 390–391. ISBN 0-8264-6247-2.
Jump up ^ Kominz, Laurence (1997). The Stars Who Created Kabuki; Their Lives, Loves and Legacy. Tokyo, New York, London: Kodansha International. p. 232. ISBN 4-7700-1868-1.
^ Jump up to: a b Toita, Yasuji (1970). "Zenshin-za Innovations". Kabuki: The Popular Theater. Performing Arts of Japan: II. Don Kenny (trans.). New York & Tokyo: Walker/Weatherhill. p. 213. ISBN 0-8027-2424-8.
Jump up ^ Shōriya, Asagoro. Contemporary Actors at Kabuki21.com. (Retrieved 18 December 2006.)
Jump up ^ "Kabuki Theaters". Kabuki21.com. 2013-12-31. Retrieved 2014-07-25.
Jump up ^ Japanese: 大鹿歌舞伎
Jump up ^ "Ōshika Kabuki". Retrieved 22 February 2007.
Jump up ^ Edelson, Loren. Playing for the Majors and the Minors: Ichikawa Girls’ Kabuki on the Postwar Stage. In: Leiter, Samuel (ed). Rising from the Flames: The Rebirth of Theater in Occupied Japan, 1945–1952. Rowman & Littlefield, 2009. Pages 75–85.
^ Jump up to: a b c Martin, Alex, "Kabuki going strong, 400 years on", Japan Times, 28 December 2010, p. 3,
Jump up ^ Martin, Alex, "Kabuki going strong, 400 years on", Japan Times, 28 December 2010, p. 3, retrieved on 29 December 2010.
Jump up ^ "Kabuki Tours In Asia". Kabuki21.com. Retrieved 2014-07-25.
Jump up ^ "Kabuki Tours In Europe". Kabuki21.com. Retrieved 2014-07-25.
Jump up ^ "Kabuki Tours In North And South America". Kabuki21.com. Retrieved 2014-07-25.
Jump up ^ Za Kabuki Troupe, "Za Kabuki 2012: Who We Are." Last modified 2012. Accessed April 28, 2013. https://sites.google.com/site/zakabuki2010/who-we-are
Jump up ^ Negishi, K, and M Tomoeda. "ANU Za Kabuki." Monsoon, 2010, 26.
Jump up ^ Sign (in English) for Izumo no Okuni's statue in Kyoto
^ Jump up to: a b c Lonely Planet Kyoto, 2012, page 169
Jump up ^ "2001~2100". Kabuki21.com. Retrieved 2014-07-25.
Jump up ^ "UNESCO Culture Sector - Intangible Heritage - 2003 Convention :". Unesco.org. Retrieved 2014-07-25.
^ Jump up to: a b Scott 1955, pp. 55–56
Jump up ^ Ukon Ichikawa as Genkurō Kitsune flying over audience in the July 2005 National Theatre production of Yoshitsune Senbon Zakura.
Jump up ^ "Archived copy". Archived from the original on 8 December 2015. Retrieved 27 November 2015.
Jump up ^ "Kabuki « MIT Global Shakespeares". Retrieved April 8, 2015.
Jump up ^ Quinn, Shelley Fenno. "How to write a Noh play—Zeami's Sandō. Monumenta Nipponica, vol 48, issue 1 (Spring 1993). pp53–88.
^ Jump up to: a b Toita, Yasuji (1970). Kabuki: The Popular Theater. New York: Weatherhill. pp 6–8.
Jump up ^ Thornbury, Barbara E. "Sukeroku's Double Identity: The Dramatic Structure of Edo Kabuki". Japanese Studies 6 (1982). Ann Arbor: Center for Japanese Studies, University of Michigan. 13
^ Jump up to: a b Miyake, Shutarō (1971). "Kabuki Drama". Tokyo: Japan Travel Bureau. This story is one of the most popular traditional tales in Japan, and is based on a famous episode in 18th-century Japanese history.
Jump up ^ Jones, Stanleigh H. Jr. (trans.)(1993). "Yoshitsune and the Thousand Cherry Trees." New York: Columbia University Press.
References[edit]
Brandon, James R. (2009). Kabuki's Forgotten War: 1931–1945. University of Hawaii Press. ISBN 0-8248-3200-0.
Ronald Cavaye (1993). Kabuki: A Pocket Guide. USA and Japan: Charles E. Tuttle,
Ronald Cavaye, Paul Griffith and Akihiko Senda (2004). A Guide to the Japanese Stage. Japan: Kodansha International.
Ernst, E. (1956). The Kabuki Theatre. New York: Oxford University Press.
Scott, A. C. (1955). The Kabuki Theatre of Japan. London: George Allen & Unwin Ltd.
Senelick, L. (2000). The Changing Room: Sex, Drag, and Theatre. London: Routledge.
Facts JPN-kabuki. 25 November 2007 <https://web.archive.org/web/20070606160340/http://inic.utexas.edu/asnic/countries/japan/kabuki.html>.
Japanese Culture. 25 November 2007 <http://japan-zone.com/culture/kabuki.shtml>.
Kabuki. 25 November 2007 <http://japan-guide.com/e/e2090.html>
Kabuki. Ed. Shoriya Aragoro. 9 September 1999. 25 November 2007 <http://www.kabuki21.com/>
Haar, Francils (1971). Japanese Theatre In Highlight: A Pictorial Commentary. Westport: Greenwood P. p. 83.
Masato, Takaba (2007). "History of Kabuki: Birth of Saruwaka-machi". Watanabe Norihiko. Retrieved 30 April 2009.
Leupp, Gary P. (1997). Male Colors: The Construction of Homosexuality in Tokugawa Japan. University of California Press. ISBN 0-520-20900-1.
External links[edit]
Wikimedia Commons has media related to Kabuki.
Wikimedia Commons has media related to Kabuki actors.
Wikimedia Commons has media related to Kabuki theaters.
Kabuki Web—Shochiku Official Kabuki Website in English
Earphone Guide—The English language Earphone Guide
Kabuki 21—All about Japan's traditional Theatre Art of Kabuki: The art, the plays, the great stars of today, the legends of the past, the theaters, the history, the glossary, the traditions, the heroes and the derivatives.
National Diet Library: photograph of Kabuki-za in Kyobashi-ku, Kobiki-cho, Tokyo (1900); Kakuki-za (1901); Kakuki-za (1909); Kabuki-za (1911); Kabuki-za (1912); Kakuki-za (1915)
Kabuki prints by Utagawa Kuniyoshi (1798–1861)
Japan Mint: Kabuki Coin Set
Audio recording of the kabuki play Narukami by Ichikawa Danjūrō I at LostPlays.com
1969 'Camera Three' program on Kabuki, (audio only; with Faubion Bowers et al.)
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text:
Hurricane Relief T20 Challenge
From Wikipedia, the free encyclopedia
(Redirected from West Indies v ICC World XI in England in 2018)
Jump to: navigation, search
Hurricane Relief T20 Challenge
West Indies ICC Rest of the World XI
Captains
Carlos Brathwaite Shahid Afridi
The Hurricane Relief T20 Challenge[1][2][3] is an upcoming Twenty20 International (T20I) cricket match scheduled to take place in England on 31 May 2018. The West Indies cricket team will play a against a Rest of the World XI team, to raise funds for stadiums damaged by Hurricane Irma and Hurricane Maria in September 2017.[4] The damaged stadiums were Ronald Webster Park in Anguilla and Dominica's Windsor Park.[5]
The International Cricket Council (ICC) granted the fixture international status,[6] with Lord's being selected as venue to host the match.[7] In March 2018, the ICC named Eoin Morgan as the captain of the World XI side.[8] The following month, Carlos Brathwaite was named as the captain of the West Indies team.[1] However, two days before the match, Morgan was ruled out of the fixture with a fractured finger.[9] Sam Billings replaced Morgan in the squad and Shahid Afridi was named as the captain for the World XI side.[10]
Contents
[hide]
1 Squads
2 Only T20I
3 References
4 External links
Squads[edit]
West Indies[11]
ICC Rest of the World XI
Carlos Brathwaite (c)
Rayad Emrit
Andre Fletcher
Chris Gayle
Evin Lewis
Ashley Nurse
Keemo Paul
Rovman Powell
Denesh Ramdin (wk)
Andre Russell
Samuel Badree
Marlon Samuels
Kesrick Williams
Eoin Morgan (c)[8]
Shahid Afridi (c)[12]
Sam Billings (wk)[10]
Sam Curran[13]
Shakib Al Hasan[14]
Tamim Iqbal[14]
Dinesh Karthik (wk)[15]
Rashid Khan[14]
Sandeep Lamichhane[16]
Shoaib Malik[12]
Mitchell McClenaghan[17]
Tymal Mills[13]
Hardik Pandya[15]
Thisara Perera[12]
Adil Rashid[18]
Luke Ronchi (wk)[17]
Mohammed Shami[18]
Shakib Al Hasan was originally named in the Rest of the World team, but withdrew for personal reasons and was replaced with Sandeep Lamichhane.[16] Hardik Pandya was ruled out of the match with a viral illness, and was replaced by Mohammed Shami.[18]
Only T20I[edit]
31 May 2018
18:00 (D/N)
Scorecard
West Indies
v
Rest of the World
Lord's, London
Umpires: Rob Bailey (Eng) and Alex Wharf (Eng)
References[edit]
^ Jump up to: a b "West Indies Announce Hurricane Relief T20 Challenege Squad". Lord's. Retrieved 17 April 2018.
Jump up ^ "Hurricane Relief T20 Challenge: All you need to know ahead of Thursday's fundraiser at Lord's". Sky Sports. Retrieved 30 May 2018.
Jump up ^ "Cricket for a cause: A history". International Cricket Council. Retrieved 30 May 2018.
Jump up ^ "West Indies, Rest of the World XI to play fundraising T20I". ESPN Cricinfo. Retrieved 14 February 2018.
Jump up ^ "West Indies to play Rest of the World XI at Lord's". The Indian Express. Retrieved 14 February 2018.
Jump up ^ "Lord's to host West Indies v ICC Rest of the World XI fundraising T20I". International Cricket Council. Retrieved 14 February 2018.
Jump up ^ "Lord's to Host West Indies v ICC Rest of the World T20". Lord's. Retrieved 14 February 2018.
^ Jump up to: a b "Eoin Morgan to captain ICC World XI against Windies". International Cricket Council. Retrieved 22 March 2018.
Jump up ^ "Eoin Morgan out of World XI v West Indies with broken finger". BBC Sport. 29 May 2018. Retrieved 30 May 2018.
^ Jump up to: a b "Eoin Morgan cracks finger, out of World XI T20 against West Indies". ESPN Cricinfo. Retrieved 29 May 2018.
Jump up ^ "Russell returns, Brathwaite to lead Windies at Lord's". International Cricket Council. Retrieved 17 April 2018.
^ Jump up to: a b c "Afridi, Malik & Perera added to ICC World XI squad". www.lords.org. Retrieved 19 April 2018.
^ Jump up to: a b "Eoin Morgan forced to pull out of ICC World XI squad due to injury". International Cricket Council. Retrieved 29 May 2018.
^ Jump up to: a b c "Rashid, Tamim and Shakib confirmed for ICC World XI team to play the Windies at Lord's". International Cricket Council. Retrieved 23 April 2018.
^ Jump up to: a b "Dinesh Karthik, Hardik Pandya named in ICC Rest of the World XI". International Cricket Council. Retrieved 3 May 2018.
^ Jump up to: a b "Sandeep Lamichhane added to the ICC World XI for 31 May T20I against the Windies at Lord's". International Cricket Council. Retrieved 16 May 2018.
^ Jump up to: a b "McClenaghan, Ronchi complete World XI squad". ESPN Cricinfo. Retrieved 7 May 2018.
^ Jump up to: a b c "Hardik Pandya out of World XI T20, Mohammed Shami and Adil Rashid in". ESPN Cricinfo. Retrieved 28 May 2018.
External links[edit]
Series home at ESPN Cricinfo
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1886
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International cricket in 2018
Preceding season: International cricket in 2017–18
April 2018
World Cricket League Division Four
May 2018
Bangladesh women in South Africa
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Pakistan in England
West Indies vs ICC World XI in England
June 2018
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Women's Twenty20 Asia Cup
Sri Lanka in the West Indies
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Pakistan in Scotland
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England women's Tri-Nation Series
India in Ireland
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July 2018
Zimbabwe Tri-Nation Series
Women's World Twenty20 Qualifier
India in England
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August 2018
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