Onnagata

Onnagata or oyama (Japanese: 女形・女方, "woman-role") are male actors who play female roles in Japanese Kabuki theatre.
History.
The modern all-male kabuki was originally known as "yarō kabuki" ("man kabuki") to distinguish it from earlier forms. In the early 17th century, shortly after the emergence of the genre, many kabuki theaters had an all-female cast ("onna kabuki"), with women playing men's roles as necessary. "Wakashū kabuki" ("adolescent-boy kabuki"), with a cast composed entirely of attractive young men playing both male and female roles, and frequently dealing in erotic themes, originated circa 1612.
Both "onnagata" and "wakashū" (or "wakashū-gata"), actors specializing in adolescent female roles (and usually adolescents themselves), were the subject of much appreciation by both male and female patrons, and were often prostitutes. All-male casts became the norm after 1629, when women were banned from appearing in kabuki due to the prevalent prostitution of actresses and violent quarrels among patrons for the actresses' favors. This ban failed to stop the problems, since the young male ("wakashū") actors were also fervently pursued by patrons.
In 1642, "onnagata" roles were forbidden, resulting in plays that featured only male characters. These plays continued to have erotic content and generally featured many "wakashū" roles, often dealing in themes of "nanshoku" (male homosexuality); officials responded by banning "wakashū" roles as well. The ban on "onnagata" was lifted in 1644, and on "wakashū" in 1652, on the condition that all actors, regardless of role, adopted the adult male hairstyle with shaved pate. "Onnagata" and "wakashū" actors soon began wearing a small purple headscarf ("murasaki bōshi" or "katsura") to cover the shaved portion, which became iconic signifiers of their roles and eventually became invested with erotic significance as a result. After authorities rescinded a ban on wig-wearing by "onnagata" and "wakashū" actors, the "murasaki bōshi" was replaced by a wig and now survives in a few older plays and as a ceremonial accessory.
After film was introduced in Japan at the end of the 19th century, the "oyama" continued to portray females in movies until the early 1920s. At that time, however, using real female actresses was coming into fashion with the introduction of realist "shingeki" films. The "oyama" staged a protest at Nikkatsu in 1922 in backlash against the lack of work because of this. Kabuki, however, remains all-male even today.
"Oyama" continue to appear in Kabuki today, though the term "onnagata" has come to be used much more commonly.
Every Kabuki actor is expected to have facility with "onnagata" techniques. These include learning the "onnagata" makeup, which is vastly different from that of a male character’s, and adopting traditional feminine mannerisms. Some of the techniques that the "onnagata" actors have to master with years of training and research include knee shuffling across the stage wearing "getas" (下駄) or speaking, and almost singing, at a higher pitch throughout the entire act. While it is tempting for Western opinion to equate "onnagata" with mere cross-dressing, or female impersonation, no kabuki actor's training is complete without mastery of what constitutes the techniques the Kabuki "onnagata."