Q4 Does Midori programming help or hurt contemporary Kabuki?rary

Does Midori Programming help or hurt contemporary Kabuki?

   The Kokuritsu Gekijo Law was revised in 1988 and again in 1990, which is now called the Japan Arts Council Law. The main purpose of the revision and name change was to bring the modern and contemporary Western style performing arts within the purview of cultural policy along with traditional Japanese arts. The Madori programs were carefully assembled to showcase star actors and aimed at a highly entertaining festive day atmosphere.  Presenting plays in their original and whole form stands in contrast to the midori style associated with commercial theatres such as the Kabuki-za.

Midori programs are assembled by bringing together independent, relatively short pieces and scenes taken from longer works. Typically a segment from a period drama (jidaimono) and one from a domestic drama (sewamono) are featured. Midori programs often include a separate dance piece, as well, with musical and narrative accompaniment. Since, the midori programming contains selected scenes, short works, and is often more affordable; it has become the preferred style at the Kokuritsu Gekijo. Also, included in the count of midori programs are those that feature selected scenes from a single work.

The Madori programming comes in response to the demands of contemporary audiences and contributes to a financially secure operating basis for the theater. According to Barbara E. Thornbury, midori programs have the advantage of being less expensive, less time consuming, and there is less of a risk associated with drawing in audiences. None of the madori programs alone can make up a performance, they must be combined with other works to fill a production bill.

The Kokuritsu Gekijo is able to justify it's madori programming in a clever way without violating its charter to present Kabuki in it's restored and whole form. The components of midori programs are not to be viewed as parts requiring restoration to some original whole form. Rather, the components of midori are to be viewed as redefined and authentically complete in and of themselves.Thus, it is the purpose of a production that defines what is complete.

Authenticity in Kabuki is rarely clear. The midori programs are more commercial and are intended to dominate programming. The institution is not sending mixed signals, since the Kabuki authenticity has multiple authenticities. Several different versions of a play can exist with the same exact title. Midori programmings help contemporary Kabuki; the contemporary aspect is the key component. However, whether or not midori programming helps historical Kabuki is questionable.

Submitted by Jenna Quinn