Onnagata

Kabuki is well known for its exaggerated acting, flamboyant costumes and makeup, and unnatural storylines. The onnagata, usually male actors who perform the roles of women, have been an important aspect of kabuki since its beginnings in the 17th century. In a “labyrinth” of gendering, the practice of men playing women’s roles has affected the manifestations of femininity in Japanese society. In this case study of how gender has been defined and redefined through the centuries, Maki Isaka examines how the onnagata’s theatrical gender “impersonation” has shaped the concept and mechanisms of femininity and gender construction in Japan. The implications of the study go well beyond disciplinary and geographic cloisters.

Maki Isaka is associate professor in the Department of Asian Languages and Literatures and affiliate faculty in the Department of Gender, Women, and Sexuality Studies at the University of Minnesota. She is the author of Secrecy in Japanese Arts: “Secret Transmission” as a Mode of Knowledge.

Preface and Acknowledgments
Note on Textual Conventions

Part One | Fundamentals: Invitation to Labyrinths of Gendering
Introduction: A Labyrinth of Onnagata
1. Geneses of a Maze: Androgyne Fatale

Part Two | Femininity Inside Out: Onnagata Who Pass
2. Denial of Transience: Forfeiting the Androgynous Charm
3. Prescription for Femininity: Onnagata Who Pass
4. Canonization: Creating Onnagata Traditions
5. Femininity in Circulation: Texts in Kabuki, Kabuki in Texts

Part Three | Marginalized Centers: Bodies and Personnel
6. Naturally Disciplined: Moving Real on Procrustean Beds
7. Female Onnagata in the Porous Labyrinth: The Enunciated Femininity and the Enunciating Masculinity

Part Four | Origins of Onnagata: Modern Reformation
8. Toward Contemporary Onnagata: Art in Their Blood

Epilogue: The Journey Continues

Notes
Bibliography
Index