The Image of Japanese Women in Takarazuka: Sexual Politics and Modern Culture in Japan by Jennifer Robertson

In the domain of Japanese theater, kabuki plays have dominantly
gained patronage in Japanese society.It has also enjoyed male dominance,
for its actors are mainly males, with only few females knowledgeable about
Japanese theater and rudimentaries on theater acting.Just like its
imperial society during the 17th-19th centuries, Japanese society have been
familiarized, in every aspect of their life, to be led by males, be it in
the domain of politics, economic, or Japanese culture.
By the turn of the 20th century, however, Japanese culture has
witnessed a change in the form plays are to be presented in public.
Although kabuki is still a popular theater form of theater, a new form of
theatrical presentation was introduced in 1914.Called the takarazuka,
this new theater form is all female, which was established to provide women
with training in the theater arts.The coming of takarazuka as a new
theater form paved the way for women to become involved and known for their
Takarazuka is more than a form of Japanese art and culture.Latent
meanings are embedded in the new discipline, providing a new venue for
women to look for new professions, activities, and venues that have never
been explored or tried out before.Jennifer Robertson studies and
discusses the implied meanings behind the practice of takarazuka as it
relates to the modern Japanese society.In her book, Takarazuka: Sexual
Politics and Modern Culture in Japan (1998), Robertson confronts the issue
of women marginalization in a highly patriarchal Japanese society, and
effects of this new cultural movement in the lives of women and the rest of
Robertson’s analysis of the different elements and meanings implied
in the context of takarazuka reflected that this new art form have, among
other factors enumerated by the author, two primary roles: takarazuka