The most memorable performance I saw at Kabukiza was Kumonoito Azusa no Yumihari (“The Spider’s Thread”). The story begins with the warrior Minamoto no Raikō lying ill, when a beautiful woman appears—who is actually a spider demon that can change its shape. The spider repeatedly attacks Raikō, vanishing and reappearing in different forms.
This play was first performed in 1765 and became famous for its “hayagawari” technique, where an actor changes costume and character instantly on stage. The focus is less on following the story and more on enjoying these rapid transformations. One actor becoming multiple characters on stage has a magical, almost cosplay-like appeal. In kabuki, this is called a “henge buyō” (transformation dance).
On this performance, the spider demon was played by Ukon Onoe. The combination of movement, sound, and costume made everything instantly understandable—even for those unfamiliar with kabuki. In the climax, after the final transformation, the spider switches sides, and the actor who had played it now joins the warriors.
Watching this play, it’s clear that kabuki sword fights aren’t about realistic combat—they’re about form and beauty. Every movement is designed to look best from the audience’s perspective, focusing on style and rhythm rather than realism. This is at the heart of kabuki choreography.
Leave a Reply