Edit this SELECTED ORIGINAL PAINTING, keeping its delicate realistic graphite drawing and very pale translucent watercolor. This is a precise localized revision, not a new composition. Keep the same 1536x1024 canvas, white paper, blue water, FOUR folded paper boats at their exact original positions, distant landscape, tiny trees, translucent blue/lavender strata and soft outer fade. Make ONLY these changes: replace the two Western figures by two adult MALE Edo-period kabuki performers, and replace the canal's masonry material with almost-white wood. The two attached photographs are references for costume, wigs and kumadori, not a background to copy.

LEFT ACTOR: a male white-lion kabuki performer like reference 1: abundant very long ivory-white mane, refined red/black kumadori on white face, charcoal/navy brocade with subtle old-gold flowers, ivory/gold lower robes. Keep him in the original left figure's position and similar overall scale. One hand must visibly touch and turn the EXISTING gold sluice's top screw handle at the same location; retain the gold sluice shape. Give him a modest dancing pivot: one grounded supporting leg, the other heel or foot just a few centimeters lifted, slightly bent knee, a small twist through the torso. His free hand opens outward in a graceful, restrained kabuki gesture. A small sweep of the long hair and a little lifted sleeve indicate momentum. Quietly vivid, not a large leap, no airborne high-knee stunt, no hair flying across the whole sky. Face, fingers and cloth drawn with realistic fine pencil modeling and transparent washes.

RIGHT ACTOR: replace the woman with an adult MALE aragoto kabuki actor like reference 2, a masculine face with white and red kumadori, sculpted black wig, muted vermilion RED floral/gold outer kimono and smoky PURPLE-and-ivory patterned lower costume. Preserve his original right-side position and similar scale. One hand holds the existing fine gold pole: its lower tip MUST still touch the SAME FRONT PAPER BOAT in its original position. Keep hand, pole and boat physically continuous. A gently springing stance, softly bent supporting knee and only a small lifted trailing foot; restrained torso turn, free hand in a compact theatrical gesture. Subtly billowing red sleeve and purple folds suggest a poised instant of dance. Grounded balance, plausible anatomy, not a full athletic leap. Both actors stay fully within the painting, leaving the central upper whitespace open.

CHANNEL: convert ONLY the stone canal walls, railings, pillars and walking ledges to pearly nearly-WHITE hinoki timber. Keep the exact serpentine shape, widths, heights, sluice placement, waterfalls and water course. Show delicate long grain, fine plank seams and a few believable wooden joints; no block-masonry joints, no ochre/yellow/brown timber. Do not change the surrounding rocks, islands, distant scenery or transparent strata into wood.

Integrate both figures with the original pale background and boats: watercolor granulation, fine graphite, airy soft edges; slightly Eastern brush rhythm but NOT flat ukiyo-e cartoon, glossy CGI, photographic cutouts or thick ink outlines. Red and purple should be clearly recognizable yet softened to the existing watercolor palette. Kabuki stage-like rhythm comes only from the two poses, no literal theater, curtains, audience, text, arrows, symbols, extra props or extra boats. The focal gold hand-to-sluice and pole-to-boat contacts remain clear. Preserve all other original details as closely as possible. No frame, no writing.