Ideological efficacy before martial efficacy: on the relationship between martial arts, theatricality and society

Abstract

This article relates the training of gendai budō/mudo to theatrical performance. While there are already studies that discuss theatricality in martial arts, the aim of this paper is to provide a systematic overview of the theatrical structuring of elements of martial arts training. This could be further developed in the study of different martial arts and in comparative case studies. For this purpose, Andreas Kotte’s theory of scenic processes is used to arrange different phenomena in martial arts training systematically, representing the constitutive aspects of theatricality as derived from theatre and performance art. Gendai budō/mudo are used as cases to elaborate a systematic approach to the analysis of martial arts as theatrical performance. These examples were chosen because of their emphasis on aesthetics and technical expertise, rather than practical fighting applications. While theatricality in martial arts is usually seen as something for enjoyment or possibly to improve and display athleticism, it is argued here that theatricality has to be viewed as a mode of communication to convincingly elevate and spread information. It is therefore possible to trace ideological features such norms, values, and ideals in the theatrical staging of martial arts training.