Kabuki Theatre Development
The first major use of revolving stages began in Japan during Kabuki performances. In the 1750s, Namiki Shōzō, previously just known for his work as a theatrical dramatist in Japan, introduced a stage design know as a “mawari butai.” The literal English translation is “revolving stage”; however, the denotation is quite different from the modern understanding of the word. Initially, the stages were wheeled circular platforms that were fixed on a stage and turned manually. A wall running through the diameter of the circle allowed a quick reveal of other Kabuki performers and chanters. Although the platform did indeed revolve, the problems of visual scenic changers still hindered the spectacle. Through trial and error methods involving the issues still at hand in the Kabuki theatre, the platform eventually became flush with the immobile sections of the stage. This in-turn placed the mechanism below the stage and hid the manual labor. After this downward shift, the manual technology only increased. One circle, in the 1820s in Japan, was placed inside another circle and was used for various transitions. Some special effects included one boat passing another by the two rings turning against each other. This was just an example of many tricks that the Kabuki theatre developed. Revolving stages were a huge step towards the stylized form Kabuki theatre is known for today. They made it possible to implore supernatural transformations and come up with creative entrances and exits. Modern Kabuki theatre companies still employ a rotating stage but in a much smaller capacity. For the most part, the wall on the circle is flush with the wall behind the chanters, and a rotation is used to allow new head chanters to be revealed seamlessly.
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