SOURCE: Arnott, Peter. “The Theatre Suspected.” In The Theatres of Japan, pp. 152-74. London: Macmillan, 1969.

In the following excerpt, Arnott argues that the structure of Kabuki is distinctly different from that of modern Western drama, as it presents a succession of individual moments in response to the Buddhist idea of impermanence; is self-conscious about the dramatic utility of its elements; reproduces the sentence-pattern of the Japanese language; and mirrors the hopes and fears of its audience through romantic stories.

The present kabuki stage has its own permanent architectural features, though these may often be disguised with scenery. Downstage right is a grille behind which the musicians sit. Any scenery set in front of it is, almost invariably, similarly pierced, so that even in the most realistic set the musicians' place is obvious. Downstage left is the small alcove with its miniature revolve, the usual place for the joruri...