A rebirth

In the last quarter of the Genroku period in the 17th century marked the rebirth of not only Kabuki but the whole Japanese people’s culture. The commoners being more theatrically inclined, the theatre people were inspired to innovate and produce ingenious plays. Influences that would form the present day kabuki materialized in this period. Producers started to adapt techniques for stage performance and stories from the Bunraku puppet theatre, which developed along with kabuki. The Genroku period was also a period of trial and error. Actors started to mimic and create stylized movements (maruhon) of puppets to bank on the rising popularity of the Bunkaru, whole plays and devices like the gidayu were also imported from the puppet theatre. Despite the Bunraku’s influence it was also seen as a competitor.

From 1688 - 1704 the kabuki enjoyed a dazzling popularity unprecedented in Japanese history. Under the influence of Chikamatsu Monzaemon (1653-1724) who originally wrote for the puppet theatre kabuki totally changed. Many of the famous kabuki plays are adaptions of his puppet dramas. At this time also, kabuki looked to other forms of drama such as noh and kyougen for motivation.
The colourful theatre has finally started to lift off despite the restrictions and the evil impressions of the government against them. However another incident in the year 1714, when a lady of nobility was found out to be involved in an affair caused the theatres to once more close for three months. The theatre where the actor involved regularly performed was destroyed. This became known as the Ejima affair, named after the lady in the love affair.

The Tokugawa government allowed the reopening of the theatres most but imposed the regulations which strictly discouraged opportunities for secret encounters between class types. The theatres were renovated. It was required that there should be no covered walkways between the theatres and the conveniently situated teahouses of the nearby pleasure district. Concealment the occupants with the use of blinds were considered an offence. Only two levels were now to be permitted instead of the original three tiers. Theatre managers however found a way around this provision, they maintained the usual three tiers, but in deference to the authorities called the second tier chuu nikkai (mezzanine, or middle level) and the third tier hon nikkai (second level).