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::''This article focuses on the Edo period urban culture of the Kamigata region in contrast to that of the Edo region; for more general information on the region, see Kansai region or Osaka-Kobe-Kyoto.'' Kamigata (上方) is a region of Japan referring to the cities of Kyoto and Osaka; the term is used particularly when discussing elements of Edo period urban culture such as ukiyo-e and kabuki, and when making a comparison to the urban culture of the Edo/Tokyo region. Kabuki, ukiyo-e, and many of the other related fields of popular and urban culture of the Edo period in fact originated in Kamigata before being transmitted to Edo. The vast majority of scholarship on the urban culture of the Edo period (1603–1867), even today, focuses on culture in Edo; Kamigata culture, though it is beginning to be studied more and more, and represented in museum exhibits more often as well, remains very much overshadowed. ==Theatre== Kabuki, like many other traditional arts, originated in the Kamigata area. It grew out of Noh theatre and traditional Shinto dances, and was originally much more a dance form than drama. After periods of women's kabuki (''onna kabuki'') and young men's kabuki (''wakamono kabuki''), in which the dancers/actors were also prostitutes, and thus various proscriptions were put into place, including the banning of women from the stage, men's kabuki (''yarō kabuki''), the beginnings of what is considered today the mainstream form of kabuki, emerged. Sakata Tōjūrō (1647–1709) was one of the first actors in this new form, and an extremely influential one in shaping Kamigata kabuki. He pioneered the ''wagoto'' style, a soft, emotional, and naturalistic style of theatre, which would stand in sharp contrast to the bombastic, bold ''aragoto'' style created by his contemporary in Edo, Ichikawa Danjūrō I. The aesthetics and philosophy of ''wagoto'' would continue to shape and define Kamigata kabuki from then on, and actors from the two regions would more often than not experience great difficulties in adapting to the styles of the opposite region, and appealing to their audiences. Kamigata style uses fewer stage tricks (''keren'') than Edo kabuki, and more subdued makeup, costuming, props and sets. In addition to its more naturalistic and realistic style, Kamigata kabuki was originally far more strongly influenced by ''jōruri'', the puppet theatre of Osaka, and thus to some extent, laid greater importance upon plot than did Edo kabuki, which focused far more heavily on dance. It is not uncommon even today, particularly in Tokyo (Edo), for Kabuki performances to include completely disparate stories and characters inserted, at detriment to the plot's continuity, for the purpose of showing off an actor's dancing, ''mie'' posing, chanting, costumes or stage tricks. Later in the Edo period, actors began to travel more often between the two regions, influencing one another's styles, and introducing elements of each region's style and repertoire to the other. However, the two regions never ceased to be distinctly different, and to maintain their respective stylistic and aesthetic foundations. Today, kabuki is on the wane across the country, but remains more popular and thus more stable in Tokyo. Only one theatre remains in Kyoto, the Minami-za, while a handful remain in Osaka; the Naka no Shibai closed in 1999. Among the top actors onstage in Kamigata today are Nakamura Ganjirō III and his sons Nakamura Senjaku III and Nakamura Kanjaku V, Kataoka Hidetarō II, Bandō Takesaburō V and Kamimura Kichiya VI. A number of other Kamigata actors now perform in Tokyo. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Kamigata」の詳細全文を読む スポンサード リンク
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