The Actor Ichikawa Ebizo (Danjuro V) as the Lady-in-Waiting Iwafuji in the Play Gozen-gakari Sumo Soga, Performed at the Kawarazaki Theater in the First Month, 1793 (?) c. 1793

Curator: Here we have a woodblock print by Katsukawa Shun’ei, likely from 1793, currently held at the Art Institute of Chicago. The print portrays "The Actor Ichikawa Ebizo (Danjuro V) as the Lady-in-Waiting Iwafuji in the Play Gozen-gakari Sumo Soga, Performed at the Kawarazaki Theater in the First Month, 1793 (?)." Editor: It has such a poignant feeling. Even without knowing the context, I feel this sense of contained emotion radiating from the figure. The way she hangs her head conveys melancholy and her robe is exquisite. Curator: Yes, Shun’ei captures a sense of profound drama. It’s important to consider that this is a depiction of a male actor portraying a female role in Kabuki theatre. The actor, Ichikawa Ebizo, was a celebrated figure, and his portrayal of Iwafuji, a lady-in-waiting, adds layers of complexity related to gender and performance. Editor: Absolutely. So much about societal constraints and how performance, whether in theater or daily life, allows for the playing with of identities. And considering Kabuki's popularity, it speaks to a potentially wider acceptance, or at least a fascination with, blurring gender lines. The theatrical setting definitely influences this reception, it becomes almost a commentary on gender itself. Curator: Precisely, Kabuki occupied a unique public space where societal norms could be both reinforced and subverted. Shun'ei’s print gives us insight into the performance's popularity and impact, particularly amongst audiences navigating Japan’s rapidly changing social landscape. The fact that this image would have been widely circulated and consumed provides key insights to performance politics within the Ukiyo-e genre. Editor: I agree. The choice to depict him mid-performance adds another dimension. This isn't simply a portrait, but a captured moment of constructed emotion, layered onto a character, within the complex social and theatrical structures. We’re invited to question not only the portrayal of women, but the performance of emotion itself. Curator: Right, and consider the setting. It all coalesces, offering a complex snapshot into late 18th century Japanese theatre and the cultural performance it both reflected and shaped. Editor: Indeed, this print opens up so many interesting lines of inquiry about representation, gender roles, and the theatrical performance in wider society. Curator: For me, it also highlights the vital role Ukiyo-e prints played in disseminating theatrical imagery and the shaping of celebrity culture. Editor: What a wonderfully complex figure study!