LT's Guide to the Ancient Pokemon Theaterverse

[LightningTopaz]

The purpose of this blog is to share background lore about my Pokemon theaterverse, as well as a chance to answer any questions you may have about it.

What is my Pokemon theaterverse?

My Pokemon theaterverse is an AU exploring what would happen if Ash and the gang were theater actors putting on a type of ancient Pokeworld theater known as the Tawame theater--and the ups and downs of life on the road and being actors

What is the Tawame theater?

The Tawame style of theater is a larger than life ancient theater that was (and still is) popular across Waku (the super-region that Kanto, Johto, Houen, and Shinou are a part of in my imagined Pokeworld). It is characterized by epic plots (many of which prove that plotlines seen in The Legend of Zelda and similar games actually have ancient origins in this Pokeworld), martial arts with flowery names that border on magic, elaborate sets and costumes, music, dance, stage combat, and acrobatics galore, and even aquatic acts and live Pokemon (though most Pokemon are portrayed as gijinkas by live actors, or puppets)


While many places across Waku have at least one troupe in residence (which may have several subtroupes), many more travel around the world.


The Tawame theater also has a devoted following in other parts of the world, with many of the thousands of known plays translated into English, Kalosian, Paldean, Talien, and other languages every year. There is a growing demand for them to be performed in other languages, but most troupes across Waku will perform them in English.


A Tawame play often runs for much longer than a typical Western musical, so fans should be prepared for a three to four hour experience. Many plays often run longer than that, but many of the longer plays often have abridged versions that cut unimportant or irrelevant parts of the story. Many plays also have school appropriate versions for school Tawame troupes to perform.


High adventure, excitement, and happy endings are the order of the day in the Tawame theater--it is very bad luck to portray tragic endings on the Tawame stage.

What are your inspirations for this project?

In addition to lore of the Pokeworld itself, the Tawame plays are basically Chinese opera, Japanese kabuki, and a sprinkling of martial arts movies, martial arts novels, and the Takarazuka Revue (and animes that are inspired by that, such as Revue Starlight and Kagaki Shoujo) all ran through a blender.

If you want to see the related blog showing off ideas of what the costumes in the plays look like, look here.

 

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The Basic Format of a Tawame Play, Explained

While a Tawame play has been compared to a Western musical or revue, it is its own distinct theatrical form unique to Waku, which has a growing international community and fandom, with Kalos and Alola having well known international communities, and fast growing fandoms and communities in Paldea, Galar, Unova, and Talie.

A Tawame play is basically divided into three parts:

Act 1 is the beginning, or hajime. This introduces the main characters, the main conflict, and typically ends with the main characters resolving to do something about the main conflict.

Act 2 is the journey, or tabi. This is usually the longest of the three acts, as it features the characters on a long journey to their goal, helping others, growing stronger, and clashing with evil along the way.

Act 3 is the victory, or seishou. By this point in the journey, the characters are ready, or nearly ready, to face their main adversary once and for all. After tying up any subplots and final preparations, the heroes and the villains clash for one final fight. In the end, the villains are soundly defeated, the heroes and their allies are rewarded for their courageous acts, and all is well in the realm or martial world once again.

There is a good reason why this style of theater is called the Theater of Dreams in the international community. It is considered very bad luck to have a tragic ending on the Tawame stage. Should a troupe try this, Meloetta will curse the troupe to ruin. If anyone must die at all in a Tawame tale, it is usually the villain meeting their judgement.

Not every Tawame play is based on a Wakunese martial arts story, however--some are based on Wakunese mythology, original tales, and more recently, anime and manga, tabletop RPGs, TV dramas, and video games have all been adapted into Tawame plays. International communities have even created Tawame twists on tales in their home regions, which in turn have made their way back to Waku.

 

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Tawame Role Types Explained--The Yuushi and Eiyuna

In Tawame theater (and its related sister tradition, the Gekijou), actors are sorted into different role types--and an actor will usually play this type of role for their whole careers, although an actor changing role types is not unheard of.

A role type can be subdivided into subtypes and variants to distinguish between different types of characters--and there are many different role types and variants for any sort of character.

Two of the most famous role types are the yuushi, or male lead (Ash is the Niji Troupe's yuushi), and the eiyuna, or female lead (Serena is the Niji Troupe's eiyuna).

The bond between a yuushi and an eiyuna is legendary among the Tawame fandom and community--once a yuushi and eiyuna are paired together, they perform together for their whole careers. Many pairs have stayed together even after they stepped down from the stage.

Traditionally, the yuushi and eiyuna played the lead roles in a play, but it is more common nowadays for the yuushi to be paired with someone different in the female lead. In these plays, the eiyuna still plays an important role in the story even if she is not directly with her yuushi. Actor, performer, playwright, and crew alike know that a yuushi and eiyuna must never be upstaged--they are prominently listed in the program, and they are the last two characters to take bows when a play is over. If an encore is requested, they will usually come out to sing one of the play's best known songs again, or a specifically prepared encore song that showcases their singing skill.

The yuushi and eiyuna are two of the most demanding role types to play--both of them must have powerful heroic voices, be able to sing well, play a number of instruments, dance well, have good fighting ability, and have good athletic and acrobatic ability. Traditionally, the yuushi played the bansi--the sideblown Wakunese bamboo flute known for its distinct piercing sound--and the eiyuna played the lute-like moji and the mandolin-like kanegen. While the bansi is still commonly seen on the Tawame stage and beyond, nowadays it is not unheard of for the eiyuna or a different character altogether to play one, in addition to its iconic role as the yuushi's instrument. Since the Opening of Waku, it is not unheard of for Western instruments to rub shoulders with Wakunese instruments--the Western mandolin has superseded both the moji and kanegen, and it is becoming increasingly common to see the Western violin/fiddle in place of the tikin, the traditional three stringed Wakunese fiddle, to name a few examples.

Ash is easily one of the faces of the troupe, often appearing with Brock and Serena to promote the company. He enjoys playing bold and brash characters, as much as he enjoys comical and energetic characters. But for all the power his roles tend to bring, he knows when his role has to be quiet, reflective, and/or serious. But even in the quiet moments, his courage and joy in making people happy shines through in every role he plays, recurring character or not.

Many say that Ash is the very picture of the yuushi in the Tawame theater--powerful, yet gentle, brave and yet wise; and an unflinching commitment to doing the right thing--even if that means stepping on a few toes along the way. He has a powerful voice, wields the bansi as easily as the knuckle, the sword and the bow, and his characters will do everything they can to see truth, justice, light, and goodness prevail, often alongside the eiyuna or some other kind of sidekick.

Ash's skills as the yuushi include:

--voice (high tenor)
--flutes (both the side blown bansi and the end blown kidi, as well as the Western concert flute, the tin whistle, and the Pokeflute, just to name a few!)
--dancing (both alone and with a partner.)
--stage combat (unarmed, sword, and bow)
--acrobatics (his signature move is a trampoline leap he calls "the fireball", but fans have nicknamed "the Sonic" due to its resemblance to Sonic the Hedgehog--or Sonic the Zoroark, as he is called in this Pokeworld; gathering speed)
--Pokemon skills (his faithful Pikachu Tintri will occasionally appear in a show, in addition to a few of his recurring characters being Pikachus)

As the eiyuna, or lead actress, of the Niji Troupe, Serena is one of the faces of the troupe, often appearing with the boys for publicity. As is traditional with a yuushi and eiyuna, she and Ash are never apart for very long. But her most iconic role isn't one of her recurring characters or one of the many leading ladies she has played--it is Kitsune, the divine Delphox in Pokeworld lore that is both a guide and a trickster.

Strong and agile, Serena's best known and favorite act to perform as the eiyuna is the ribbon dance, and many of her characters often channel magic through dance. But while her characters may also wield a ribbon as a whip-like weapon, she is also adept in swordplay and archery, with many calling her fights "poetry in motion". In addition to heroines, she also enjoys playing tricksters, and comic roles. She has also tried her hand at narrating a few plays, so Brock could play a character.

Serena's skills as the eiyuna include:

--voice (a strong and heroic soprano)
--mandolin
--fiddle/violin (she has successfully worked gypsy jazz from her adopted home of Kalos into several plays--she has found that the suji, a guitar-like Wakunese lute, and the modern violin sound good together.
--dancing (both alone and with a partner.)
--stage combat (unarmed, ribbon, war fan, bow, and one handed sword)
--acrobatics
--Pokemon skills (her faithful Braxien Krystal will often appear with her in plays.)

 

[LightningTopaz]

Tawame Role Types, Explained--The Bushihime

Within a Tawame play are girls that would rather fight than wait to be rescued, and prove handily that a girl can be a hero as much as a guy--they are the bushihime. Literally meaning "warrior-princess", this role type is a specific subtype of the eiyuna, usually serving as a companion, sidekick, or some other kind of major support role. In some plays, they may be the female lead. But not all bushihime are bold and brash roles, like the yuushi and eiyuna--some of them are gods, spirits and larger than life guides to the rest of the cast.

For Misty, she relishes playing the bold and brash form of the bushihime, but also knows better than to upstage Ash, Serena, or anyone else playing the lead parts. She also enjoys playing dragons. and dragon-born characters, many of which prefer to wield the twin blades, in addition to fighting unarmed and with one handed sword. Some bushihime roles may also require archery proficiency too. Thanks to her love for the water, Misty tends to also play water gods and spirits.


Misty's skills as a bushihime actress include:

--voice (alto)
--fiddle/violin (it is becoming increasingly common to see the modern violin on the Tawame stage in place of the tikin, the traditional Wakunese three stringed fiddle. Misty is not opposed to playing a number from her vast repertoire of traditional tunes if there is a delay in the performance)
--dancing (both alone and with a partner.)
--stage combat (unarmed, sword, twinblades, and bow)
--acrobatics (mainly to add flair during fights)
--aquatics
--ice skating
--Pokemon skills (some of her Pokemon seen in shows include Ariel the Vaporeon, Mele the Primarina, and Ami the Marill)

 

[LightningTopaz]

Brock, the Versatile Storyteller

As the leader of the Niji Troupe, Brock often appears to promote the troupe alongside Ash and Serena. He will usually narrate the plays, but he is also a houkaku actor, meaning he can play many different kinds of roles.

As narrator of the troupe, Brock is one of the few allowed to play the vina, the ancient Wakunese harp that has long been revered as a solo instrument and as the narrator's instrument on the ancient stage. He is an accomplished vina soloist, and has won many prizes for his beautiful and exquisite playing. He also voices any male puppets used an a play (someone else voices female characters).

Onstage, he tends to gravitate towards musicians, hunters, guardian gods, mystics, leaders (not just kings and emperors, but officials, sect leaders, and magistrates too), and sometimes heroic roles. While his characters are typically quiet and softspoken, he can play a bold and brash arrow slinging hero if a play requires it. He doesn't mind if he has the lead role or a bit part--he will give his all to any role he is asked to play. Many of his characters function as both the narrator and a character.

Brock's skills as a houkaku actor include:

--voice (a true tenor with some baritone range)
--mimicry (this is why some fans have nicknamed him "The Boy of a Million Voices")
--vina (a skilled narrator and three time champion soloist)
--suji (an ancient Wakunese lute similar to a guitar)
--dancing (both alone and with a partner.)
--stage combat (unarmed, bow, and one handed sword)
--acrobatics
--trick archery
--Pokemon skills (his normal Vulpix Hinata, his Alolan Vulpix Yuki, and his Dusk Lycanroc Rocky are most likely to appear in plays, but his Decidueye Kia'i and his Leafeon Willow have made appearances too)

Brock has also tried his hand at directing a few plays--many in the Niji Troupe say that if he tires of acting, he can always continue narrating, write, or direct plays.

 

[LightningTopaz]

The Kagayou's Repertoire: "Rainbow of the Snowy Mountains"

"Rainbow of the Snowy Mountains" is a popular play that many say is one of Ash's best heroic roles, even if the story isn't anything original. Fans say that the rainbow that signals Ash's character's victory is one of the Tawame theater's most memorable moments.

The show tells the story of Red Phoenix, and his journey to defeat the Void Dragon School. Along the way, he meets others who want to bring justice to the Void Dragons, setting a long quest across a Waku that never was into motion, culminating in a final showdown atop a snowy mountain peak!

"Getting to sing a duet with Ash was easily one of my favorite parts of this play, besides the triumphant rainbow scene at the end." Misty remembers. "The song is laid out like a heart to heart, and we learn that for my character, dealing with the Void Dragons is personal, because they brought shame on the dragon clans and noble dragon schools. You would think that a duet between two powerful voices wouldn't work, but Ash made it work! Like Brock, he has a very distinct voice--and giving these ancient songs an 80's rock and roll vibe actually makes them feel new again!"

"Ash is very much our yuushi for a good reason." Brock explains. "No matter how difficult a feat is, no matter how hard a song is to sing or play, no matter what role he is asked to play, Ash will do it, and give 120% to doing it well. His magnetic personality and energetic characters keep audiences coming back to see us, but he never lets the glory of the lead role go to his head. Like his characters, he knows that no great hero ever fought alone, and that just like the heroes we all play, we all need to work together to succeed. The rainbow at the end, and the wild cheers when it appeared, reminded us all why we do this--to thrill and excite audiences with this ancient form, and create performances no one will forget--so Ash will serve as our yuushi for a good, long, while."

Ash plays Red Phoenix

Misty plays Blue Dragon

Brock plays Green Raikou

Serena plays Yellow Delphox

May plays Amber Beautifly

Dawn plays Purple Deerling