Blending Kabuki and Nō: Metatheatrical Elements and Female Voices in Ōmura Kayoko’s Midare Konparu

This paper investigates the play Midare Konparu (Chaos at Konparu) by Ōmura Kayoko (1883–1953), one of the earliest female dramatists in Japan who achieved notable success in the kabuki genre. Ōmura wrote for Seitō (Bluestocking) and was a member of the first graduating class of Japan Women's University. She studied playwriting under Okamoto Kidō (1871–1939), a prominent figure in the shin kabuki (new kabuki) movement and editor of the magazine Butai (Stage, 1930). Despite her prolific output of approximately one hundred plays and their frequent performances from the late Taishō (1912–1926) to the early Shōwa (1926–1989) periods, Ōmura remains largely unrecognized by Japanese and Western scholarship. This study aims to address this gap by exploring the multifaceted dimensions of one of her most representative works: a two-act, four-scene domestic drama staged for the first time in 1920 at the Imperial Theatre. Midare Konparu revolves around a Noh actor from the esteemed Konparu school, a prestigious lineage in Noh theatre. One of the most noteworthy scenes is when the protagonist and his son prepare for the performance of the classic Noh drama Aoi no Ue (Lady Aoi), notable for being the first adaptation of the Genji Monogatari for the Noh stage. This play explores the intricate behind-the-scenes world of the most elevated and ritualistic form of theatrical art through the lens of a traditional domestic kabuki story, a more popular style. The distinct contribution of this work is further highlighted by its female author, who explores themes and characters related to the condition of women within the context of a kabuki play that stages one of the most iconic Noh works. The study employs a multi-layered methodological approach. A textual analysis of the Midare Konparu script is conducted to examine its narrative structure and thematic content, with a particular focus on the use of metatheatrical elements. This analysis also considers the influence of Ōmura’s mentor, Okamoto Kidō, to understand the impact of shin kabuki on her writing. Additionally, historical and cultural contextualization is provided through the consultation of contemporary theatrical criticism and reviews, situating Ōmura's work within the broader landscape of early 20th-century Japanese theatre. The drama is thus examined through various compelling perspectives: the metatheatrical element that stages one genre within another, the representation and themes associated with female characters, and how these elements relate to the lesser-known writings of a female playwright. By analysing the metatheatrical aspects, this paper uncovers how Ōmura blends the aulic nature of Noh with the popular narratives of kabuki, creating a unique intertextual dialogue. In conclusion, this study underscores the importance of Ōmura Kayoko's Midare Konparu as a significant yet underexplored contribution to Japanese theatre. By underlining its role in the evolution of the genre and the impact of women playwrights, the study advocates for a re-evaluation of Omura's place within the literary and theatrical canon. It suggests the need for renewed scholarly attention to her work, emphasizing her influence and the necessity for a deeper understanding of her contributions to the field.