Onnagata

[4]: 92  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) to cover the shaved portion, which became iconic signifiers of their roles and eventually became invested with erotic significance as a result.

[4]: 132  After authorities rescinded a ban on wig-wearing by onnagata and wakashū actors, the murasaki bōshi was replaced by a wig and now survives in a few older plays and as a ceremonial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.

This was more uncommon as it was standard for onnagata to be an artistically feminine performance played by a male actor who underwent training to learn the role.

[7] Some of the techniques that onnagata actors have to master with years of training and research include being able to move gracefully across the stage when wearing geta, adopting a more feminine posture and physical mannerisms like slouched shoulders and bending knees, and speaking at a higher pitch (falsetto) throughout the entire performance.

The subculture emphasizes gender-nonconforming expression, and self-identified male performers who adopt female clothing within the genre are referred to as onnagata.