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Taishu Engeki is a genre of popular theatre in Japan. It is often described as “light theatre” and compared to forms such as musical theatre and revues. Taishu Engeki is a very special form of Japanese theatre which seeks closeness to the audience and presents itself in a light-hearted manner. However, Taishu Engeki is also a constantly evolving art form which bends both gender and genre.
Though different interpretations and definitions abound, the chief distinguishing feature of Taishu Engeki is the notion that it is intended as entertainment for regular people.
The form does not purport itself to be high art, nor to contain deep or powerful philosophical or political themes or messages. It simply aims to entertain without bias.
Taishu Engeki troupes tend not to be connected with a single theatre, but travel, performing at small local theatres, community centers and the like.
Ticket prices are relatively low compared with other major forms of urban theatre performed in Japan, such as Kabuki, Bunraku, Noh, opera, and Broadway musicals.
Taishu Engeki aims to be almost intimate and far more easily accessible than other traditional performing art forms. Efforts are made to inspire a feeling of closeness between the audience and the performers.
The stage is low, and the distance between performers and audience is very close. Performers often get off the stage and shake hands with fans.
Fans throw “ohineri” (coin/bill wrapped with paper) on the stage or come close to a favourite performer in order to give him money directly, or even a large bouquet of flowers.
Atlas Obscura describes the overall atmosphere for us:
“Stepping into a Taishu Engeki show is like being welcomed into a wild and flamboyant secret society. As performers in outlandish costumes dance on stage, delighted fans dance along in unison from their seats. Somehow, everyone knows the moves. Periodically, an excited fan will scurry up to the stage with an envelope or wrapped gift or will jump into the aisles looking for more room to wave a glow-stick. This might sound like a crowd of teenagers at a pop concert, but many women in attendance are old enough to have teenage children of their own.”
Taishu Engeki broadly translates as “theatre for the people,” and is usually split into two distinct halves: a play that fuses Edo-period drama in the style of a soap opera, followed by bouts of dancing and music.
The dancing is a relatively new development. Unlike higher-brow forms of Japanese theatre such as kabuki or Noh, Taishu Engeki doesn’t take itself too seriously, and is changing with the times.
The emphasis is on having fun and making friends.
Each character on stage inspires a deeply loyal and committed fanbase, many of whom make huge sacrifices to follow their idols.
Kaname, a Taishu Engeki performer was asked what the appeal of this art form is for him.
He said, “One of the best things about Taishu Engeki is the unique combination of performers clad in traditional Japanese costumes such as “hakama” and “matatabi” as they give an unconventional, modern-style performance.”
Kaname also commented on what is important to him whilst working for a Taishu Engeki show.
“Above all, to make sure that the audience has a good time. We try to remember to be thankful for the chance to get up on stage before an audience, so we try to continue to give the kind of performance a modern audience can enjoy. There are young members in our company as well, so we always make room for plenty of exchange of ideas during daily rehearsals.”
There are currently estimated to be over 100 Taishu Engeki troupes in Japan, each made up of fewer than twenty performers.
Leadership of a troupe, and rank within it, is passed down in a hereditary fashion, and members of a troupe generally share a family name. Though performers are quite frequently adopted into a family troupe and may not be related by blood.
It is also not uncommon for the sons of troupe leaders to branch off and begin their own troupes.
Troupes, and individual performers, as in Kabuki, wield individual crests or teimon which are displayed on banners, theatre curtains, and sometimes on costumes.
Wikipedia on Taishu Engeki
Article on Atlas Obscura “In Japan, ‘Theater for the People’ Makes Fandom a Part of the Show”
On Feel Fukuoka, “Introducing Taishu Engeki”
Keep Your Cool Backstage as a Stage Manager: 12 Insights
Performers in Rio de Janeiro Created a Drive-in Circus
Liam Klenk was born in Central Europe and has since lived on four continents. Liam has always been engaged in creative pursuits, ranging from photography and graphic design, to writing short stories and poetry, to working in theatre and shows. In 2016, Liam published his first book and memoir, 'Paralian'.
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