Hanamichi- Flowered Path

Q2.  There is a healthy amount of debate surrounding the hanamichi and its origin. 

Haruo presents multiple theories as to how the bridge and stage addition came to be.  Believed to be a product of the noh theatre, the hanamichi made its transition into Kabuki.  At first being construed as a bridge, or “flower pathway”, the hanamichi was not a permanent part of the stage, but instead transitory.  It is believed the origin of its name came from various translations of “flower path”, “bestowing the gift of flowers”, or “believing the actor to be a blossoming flower” (Haruo 29).  Kabuki had previously employed the hashigakari, but its position made it difficult for those sitting in the boxes to see the entrances and exits of actors.  Therefore, the hashigakari was transposed onto a ninety-degree angle, and the hanamichi was born.

The role of the hanamichi continued to evolve, and it became far more than just a pathway for the actors through the audience.  Its temporary structure was changed, its railings omitted, and it became a rooted edition to the rest of the stage.  While the actors used to simply make their entrance on the hanamichi to the mellifluous sounds of the audience calling out their names, the hanamichi’s new role led to a closer relationship between the audience and the performer.

Focusing more on just entrances and exists, Kabuki scripts now called for intimate and specific scenes to take place on the hanamichi.  Actors were instructed to make their way onto the bridged thrust of the stage for specific and intimate acting moments.  Stage directions appeared in the script, “the actors stops, and delivers his speech dead centre on the hanamichi” (Haruo 36).  This closeness to the audience, and purposeful movement among them, created a closer relationship between the audience and the performer.  Very similar to when I attended a Garth Brooks concert in the third grade, and he flew through the air into the audience… I blushed just like the woman described in the article…

The hanamichi also strengthened the relationship between the performer and the character.  Previously used simply as a pathway, or translated into flower dances, or the entrance point for boys with flowered staffs, the hanamichi grew into an area for prioritized acting.  Performers made their way onto the hanamichi and introduced themselves to the audience.  At this point, it was customary for the performer to deliver a character monologue to fully display his acting prowess.  The use of the hanamichi enabled the performer to fully invest in his character; thereby, bringing life and energy to it amongst the audience.

While the main action of the play does not usually take place on the hanamichi, it is likely that something similar to character asides would occur here.  For example, if there was a Kabuki version of Othello, it could be concluded that some of Iago’s famous moments would take place on the hanamichi running through the audience.  From this vantage point, Iago would be able to display his evil machinations away from the rest of the company while culling the audience as fellow conspirators. This type of Victoria Secret runway allows for close audience interaction with the performer.  In turn, the performer is able to use the energy of the audience, as well as, the dramatic nature of the scenes staged on the hanamichi to further connect with his character.

In conclusion, the hanamichi absolutely generates a closer relationship between the audience and performer, as well as, the performer and character.  It is an interesting and useful stage convention that has several similar translations in Western Theatre.  I am a fan.

- Hailey Drescher