Abstract

The Japanese all-female musical theater company, Takarazuka Revue, uses stylized performance patterns (kata) to depict gender and character onstage. This artificial method, descended from Japan’s all-male Kabuki theater, differs from the assumed realism of contemporary Broadway method acting. Through a study of Takarazuka Revue’s adaptation of the Hollywood film Ocean’s 11, this article argues that Takarazuka Revue’s performance method complements the inherent artificiality of musical theater song and dance and encourages the creation of new works that expand the traditions of the early to mid-twentieth-century Broadway musical. This points toward a broader understanding of global musical theater performance practices.

摘要

日本全女性音乐剧团宝冢歌剧团使用程式化的表演模式（kata）来描绘舞台上的性别和角色。这种人工方法源自日本的全男性歌舞伎剧院，不同于当代百老汇方法表演的假定现实主义。本文通过对宝冢歌舞团改编的好莱坞电影《海洋11》的研究，认为宝冢歌剧团的表演方式补充了音乐剧歌舞固有的人工性，鼓励创作拓展二十世纪初至中期传统的新作品。 -世纪百老汇音乐剧。这指向对全球音乐剧表演实践的更广泛理解。