The Japanese word for a kabuki performer who specializes in female roles is onnagata, or "woman person." The transformation of a mature male actor into a beautiful young woman is accomplished in part through mask like make-up and costuming…a process that may take up to an hour. The training to be an onnagata takes time. Which of the following is a part of their training? (There may be more than one answer.)

Question

BlackTom AI · Accepted Answer

The question asks to identify which elements are part of the training of an onnagata, noting that there may be more than one correct option.
Option 1: 'Training begins with walking.' This choice is plausible because foundational training for onnagata involves basic gait and movement to create a graceful, controlled presence on stage; walking drills help in shaping posture, balance, and the subtle movements characteristic of their performance. Recognizing that early training often emphasizes foundational locomotion aligns with the idea that transforming mature male gait into a feminine-presenting stage persona starts with how one moves on the stage.
Option 2: 'The dancer holds a sheet of paper between the knees.' This technique is a commonly cited drill used to enforce proper leg alignment, reduce exaggerated hip motion, and encourage a narrower, more controlled hip-and-kel movements consistent with onnagata styling. The sheet acts as a physical cue to maintain correct leg spacing and to cultivate the desired feminine line, so this is a believable element of their training.
Option 3: 'Elbows are at the hips.' This description sounds like a specific upper-body placement cue, but it is not widely identified as a standard cornerstone of onnagata training. While arm and elbow placement may be taught in some staging contexts, the canonical drills for achieving the onnagata’s refined silhouette and movement focus more directly on leg, torso, and gaze control rather than a fixed elbow position at the hips.
Option 4: 'Body sways from side to side.' Gentle body sway can be part of expressive training in dance, but as a standalone or defining feature of onnagata training, it is less clearly identified than walking and the knee-between-sheet drill. It could occur as part of broader movement exploration, yet it is not typically highlighted as a core, distinctive training component in the same way as the other two options.
In summary, the two clearly aligned training components are those that emphasize starting with controlled locomotion (walking) and enforcing leg-position discipline via the sheet-between-knees drill. The other options describe upper-body positioning or broader movement tendencies that are not as strongly documented as defining parts of onnagata training.

DANCE 45 S25 ⭐Quiz #1: Unit One: Dance and Cultural Contexts

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