Hanamichi in Kabuki

Travis L Williams
     Does the use of hanamichi in Kabuki create a closer or more distant relationship between the audience and the performer?
     The hnanamichi, or flowered way, decreases the distance between the audience and performer. The flowered way allows for the audience to interact very closely with the performer as they parade down the flowered way to the audience. The narrow board walkway "in the old days...was used by spectators to bring flowers to the stage" (p. 37). Traditional Western theater maintains the fourth principle which creates a distinct separation between audience and performer however the hnanamichi provides the opposite effect. "The hanamichi ultimately came to be used as an entrance and exit for actors" (p. 39). When the performers enter and exit the flowered way provides a space in which momentarily the audience can engage physically and directly interact with the performer and show appreciation without the suspension of disbelief. The spectators can show appreciation for the actor and celebrate their profession prior to the show and after the performance takes place. While the audience is more connected to the performer the performer is able to judge reactions from the audience but becomes separate from the character.
     Does the use of the hanamichi in Kabuki create a closer or more distant relationship between the performer and the character?
     Usually Kabuki theater uses heavy symbolism and traditional stories during performances thus the audience does not need to pay 'careful' attention to the complexity of the story. The use of the hanamichi really separates character from performer because the audience views performer and character separately. Kabuki has elaborate characters sometimes evil Samurai's or dragons and while the audience has negative feelings toward the character they still call out and celebrate the performer. Further the performer 'breaks character' on the hanamichi in a way, where they knowledge the audience's praise as a performer not character. Using the walk way distinctly separates character from performer in which the actor simultaneously plays both which hurts the believably of the acting on stage. Thornbury notes Kabuki is losing its historical context and faced by the pressure to constantly update and innovate with new material. The revised edited texts make more complex stunts and action sequences but the hanamichi is still represented and an integral part of Kabuki performances. While the flowered way connects audiences and performers it does not create a close relationship from performer to character.