Associate artist Nathan Masterson shares his thoughts after having visited the Japanese Embassy, where he experienced a demonstration of kabuki theatre.

Working with 1623 theatre company, I'm used to going to unusual places, but the recent trip to the Japanese Embassy ranks as one of the most remarkable.

1623 artistic director Ben Spiller, resident musician Christopher Lydon and I were invited to attend a demonstration by cast members of Shochiku's Kabuki, performed at Sadler's Wells on 4 to 15 June and featuring kabuki superstar Ebizo Ichikawa XI.

Renowned Japanese actor Nakamura Shibajaku spoke through an interpreter about the centuries-old tradition of kabuki, but his passion for the artform needed no translation!

We learnt that in kabuki, there are no female actors, and therefore female roles are played by onnagata, actors who specialise in playing women. A demonstration of the costume, makeup, and preparation an onnagata employs before a show was given by a young actor apprenticed to Shibajaku's family.

In kabuki, actors follow in their fathers' footsteps and inherit names bestowed upon their ancestors, so apprentice actors are placed with families to learn their art. Seeing the transformation before our eyes was fascinating!

We also heard some of the instruments that are a vital part of kabuki performances. From the deceptively simple percussion instruments, such as the hyoshigi (two wooden blocks banged together to signify the start of a performance and actors call times) to the haunting sounds of the shamisen (a three-stringed instrument played like a guitar with an ivory plectrum), they create an aural backdrop for the heavily stylised and powerful dance and movement of the actors.

Leaving the demonstration, I was struck not by the differences, but the similarities between kabuki and Shakespearean performance. Both originate from the same era and both have endured to be loved and rediscovered by new audiences.

While kabuki performances have changed little compared to the constant reinvention directors apply to Shakespeare's work, with good actors, talented musicians and strong direction, both kinds of theatre have meaning and can be enjoyed whatever the native tongue of the audience.

We are planning to bring elements of kabuki theatre into our production of Troilus and Cressida in 2012, to intensify the martial elements of the play and to highlight the theme of honour, which is so important to kabuki plays. Watch this space for news!