Actor Onoe Kikugorō as Soga no Tarō Sukenobu, in the play "Ume-ya Suisen Izu no Irifune" at the Morita Theater, 1763 c. 1763

Curator: I'm immediately struck by the actor's defiant stance—a symbol of power, yes, but also of vulnerability, given the historical context of Kabuki actors and their precarious social standing. Editor: And those eyes on his robe! It is an astonishing print by Torii Kiyomitsu, created in 1763. Curator: Yes, the gaze is unsettling, almost omniscient, and the swirling patterns create a sense of unease, echoing the societal currents of the time. It makes me think of gender roles and marginalized identities. Editor: Those eyes, a recurring motif, feel like watchful spirits, linking performance with ancient beliefs and the power of the mask to reveal hidden truths. The fan itself is a form of symbolic communication. Curator: Absolutely! The fan, here, isn’t just a prop. It becomes a site of coded gestures, laden with social and political meaning—a form of resistance. Editor: Thinking about that tension between the seen and unseen, I feel drawn to how Kiyomitsu captures the emotional depth of the actor's craft—the performer embodying Soga no Taro. Curator: Indeed, it's fascinating to consider how this performance, captured in print, becomes a mirror reflecting society's anxieties and aspirations. Editor: And those artistic choices solidify the figure's iconic presence, giving viewers an impression that lasts far beyond the performance.