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Onnagata
a labyrinth of gendering in kabuki theater
Maki Isaka
university of washington press
Seattle and London
Epigraph to part 1: Lynda Hart, “Motherhood According to Finley: ‘The Theory of Total
Blame,’”
TDR
36, no. 1 (Spring 1992): 124–134, published by MIT Press.
Parts of chapters 1, 2, 3, and 5 appeared previously in my article “The Gender of
Onnagata
as the Imitating Imitated: Its Historicity, Performativity, and Involvement in the Circulation
of Femininity,”
positions: east asia cultures critique
10, no. 2 (Fall 2002): 245–284.
Parts of chapter 7 appeared previously in my article “Women
Onnagata
in the Porous
Labyrinth of Femininity: On Ichikawa Kumehachi I,”
U.S.-Japan Women’s Journal,
nos. 30–31 (2006): 105–131.
Parts of the epilogue appeared previously in my article “What Could Have Happened to
‘Femininity’ in Japanese Stagecraft: A Memorial Address to Yamada Isuzu (1917–2012),”
positions: asia critique
21, no. 3 (Summer 2013): 755–759.
© 2016 by the University of Washington Press
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Library of Congress Cataloging-in-Publication Data
Isaka, Maki.
Onnagata : a labyrinth of gendering in kabuki theater / Maki Isaka.
pages
cm
Includes bibliographical references and index.
isbn 978-0-295-99510-6 (hardcover : alk. paper)
1. Kabuki—History. 2. Actors—Japan—History. 3. Female impersonators—Japan—
History. I. Title.
pn2924.5.k3i77 2015
792.0952—dc23
2015033571–
The paper used in this publication is acid-free and meets the minimum requirements of
American National Standard for Information Sciences—Permanence of Paper for Printed
Library Materials, ANSI Z39.48–1984. ∞

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