Abstract
The study presents a room acoustical investigation of a representative sample of eight Kabuki theaters as the most important public performance venues of pre-modern Japan. Room acoustical parameters according to ISO 3382 were measured for the unoccupied and simulated for the occupied condition. In comparison with European proscenium stage theaters, they have lower room heights in the auditorium, with usually only one upper tier, and no high stage house for movable scenery. The lower volume per seat results in lower reverberation times, The wooden construction and the audience seating arrangement on wooden straw mats on the floor instead of upholstered seats leads to a mostly flat frequency response up to 4 kHz, resulting in an excellent speech intelligibility, as documented by values for definition (D50) and the speech intelligibility index (STI). The acoustical conditions support the dynamic acting space created by pathways extending the stage from the front through the audience to the rear of the auditorium. They allow great contrasts in the perceived acoustical proximity depending on the selected acting position, and support a high degree of immersion of the audience into the dramatic action.
Highlights
The Kabuki is the most important genre of traditional Japanese public theater
We present the results of several room acoustical measurement campaigns [5][6], with insitu measurements and room acoustical simulations of a representative sample of remnant Kabuki theaters
The main goal of the study was to describe the range of room acoustical conditions of this performative genre, with a special focus on the particular features of these venues in contrast to theater buildings in the European tradition
Summary
The Kabuki is the most important genre of traditional Japanese public theater. During the Edo period (1603– 1868), it became the primary form of public entertainment for the growing merchant class in the urban centers of Japan, with a particular type of performance venue. The Kabuki is a vital form of art, with about 20 active theaters throughout Japan. The earliest records of Kabuki date back to the beginnings of the Edo period, describing female dance performances accompanied by flutes and drums, which took place on available Shrine stages, as well as on temporary open-air stages in Kyoto. These stages were inspired by existing stages for Notheater of the time, featuring a roofed stage, while the audience was seated in front of the Received 3 September 2018, accepted 25 November 2019
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