Tôshûsai Sharaku remains one of the major enigmas of Japanese art. No certain document reveals his identity before the appearance, in May 1794, of a spectacular set of portraits of actors published in Edo by Tsutaya Jûzaburo. For about ten months, until the beginning of 1795, Sharaku designed nearly one hundred and forty prints then disappeared. For about ten months, until the beginning of 1795, Sharaku designed nearly one hundred and forty prints and then disappeared. An often discussed hypothesis identified him with Saito Jûrobei, a Noh actor serving the Awa estate, but the debate remained open. His first large acting heads, printed on a dark mica background, broke with the usual idealization. His first large acting heads, printed on a dark mica background, broke with the usual idealization. His first large acting heads, printed on a dark mica background, broke with the usual idealization. His first large acting heads, printed on a dark mica background, broke with the usual idealization. Contracted eyebrows, asymmetrical mouths, noses, wrinkles and tense fingers simultaneously convey the character of the actor and the intensity of the role. Sharaku does not caricature to ridicule: he observes the unstable transformation by which a person becomes a character. His following series broaden the framing, show several actors and respond more to commercial conventions, without losing psychological tension. The brevity of this production has given rise to numerous explanations, from failure with the public to a return to a theatrical career. Above all, it gives him an exceptional coherence: Sharaku appears, upsets the portrait of kabuki, then lets his faces continue the show alone. The "Tôshûsai Sharaku" selection offers its own journey on this subject. Her reading favors figures.
Sharaku looks at where the invisible mask cracks: the actor is still playing, but his personal face is already crossing the role.
