The (Wo)Man of our dreams: Gender-bending in Takarazuka
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published 07/10/2008
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SummaryAn extraordinarily attractive actor, with large, dark eyes fringed by long lashes and chiseled features, suddenly appears on an audience walkway (“silver bridge”), much to the delight of adoring fans (Brau 88). With arms extended widely, the actor begins serenading the enraptured crowd in a rich baritone: “At night I long to hold you. My heart cries out for you in pain” (Dream Girls). The star, garbed in dazzlingly white, sings directly to the audience, gifting several fans with a piercingly longing gaze. A young girl materializes onstage and, as the two lovers embrace cheek-to-cheek and sing of their mutual desire, they both look dreamily out upon the spellbound audience members. At the song’s crescendo, a silver disco ball floats from the rafters and casts a starry glow over the entire auditorium, capturing the sea of enchanted, uplifted faces.
Table of Contents
- Introduction.
- the magical world of Takarazuka.
- The myth of a purely innocent, asexual performance.
- The original intention behind the Takarazuka Revue.
- Critics Karen Nakamura and Hisaka Matsuo's agreement with Kobayashi's assessment of Takarazuka
- The otokoyaku's embodyment of the two genders.
- The otokoyaku in Takarazuka.
- The Rose of Versailles - suggestions of homoeroticism.
- Another fascinating example of the otokoyaku's ryosei Takarazuka's Elisabeth.
- It is not just the idea of Death that is arousing.
- Conclusion.
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