YAMADA Kazuhito
Professor, Faculty of Letters,
Doshisha University
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Generally speaking, if one
wants to see a performance of ningyo joruri (puppet
drama), one goes to the National Bunraku Theatre of Japan
in Osaka. This elegant structure, built to symbolize a
turret, opened in 1984 (Showa 59) and holds four regular
programs each year. There are also regular performances
at the New National Theatre in Tokyo as well as traveling
performances at regional theaters throughout Japan. Ningyo
joruri is also performed overseas, and in 2001 a series
of performances in South Korea featuring younger artists
was a great success. Today ningyo joruri is a vibrant
form of puppet theater that is expanding its appeal internationally.
1. History of Ningyo Joruri
Ningyo joruri is performed by puppeteers accompanied
by a tayu (chanter) and a shamisen player.
The form originated in Kyoto and Osaka and eventually
developed into Japan's quintessential style of puppet
theater. Its history dates to the early seventeenth century,
and by the latter half of the century many superb tayu
were active. Among the most famous were INOUE Harimanojo
and ITO Dewanojo in Osaka and UJI Kaganojo and YAMAMOTO
Sumitayu in Kyoto. Kaganojo's aim was to perform joruri
stories that were also outstanding literary works. It
was during this same period that TAKEMOTO Gidayu rose
to prominence. In 1685 (Jokyo 2) he launched his career
with an acclaimed performance of Shusse Kagekiyo
(Kagekiyo Victorious) and went on to become the most popular
joruri performer of his time. Even today people
in Kansai use the term Gidayu-bushi to refer to
joruri drama.
The works performed by the great Gidayu over the years
were written by CHIKAMATSU. He authored many famous joruri
dramas, including Sonezaki shinju (The Love Suicides
at Sonezaki), Shinju ten no amijima (The Love Suicides
at Amijima), Meido no hikyaku (The Courier for
Hell), Keisei hangonko (The Courtesan of the Hangon
Incense), and Kokusen'ya kassen (The Battle of
Kokusen'ya). During this period the two leading theaters
specializing in joruri were located in the Dotonbori
district: Takemotoza on the west side and Toyotakeza on
the east. The playwright KINOKAION was active at Toyotakeza.
After the death of CHIKAMATSU it became the usual practice,
beginning in the Kyoho era (1716-1736), for a committee
of authors to work together on the creation of each new
play. Ningyo joruri then entered its golden age,
a period lasting from the Enkyo era through the first
year of the Horeki era (1744-1751) and during which the
popularity of ningyo joruri eclipsed that of the
kabuki theater. TAKEDA Izumo, NAMIKI Sosuke, and MIYOSHI
Shoraku were leading playwrights during this period, and
they were responsible for the three masterworks Sugawara
denju tenarai kagami (The Secrets of Sugawara's Calligraphy),
Yoshitsune senbon zakura (General Yoshitsune and
the Thousand Cherry Trees), and Kanadehon chushingura
(The Treasury of Loyal Retainers). These were followed
by works such as Oshu adachigahara (The Ogre of
Adachigahara), Imoseyama onna teikin (The Mirror
of Virtuous Women), Igagoe dochu sugoroku (The
Vendetta at Iga), and Sesshu gappoga tsuji (Gappo
and his Daughter) by authors including CHIKAMATSU Hanji
and SUGA Sensuke. The bulk of the present-day repertoire
consists of works that were first performed by the end
of the An'ei era (1752-1780). Nevertheless, from the Horeki
(1751-1764) through the An'ei (1752-1780) eras ningyo
joruri began to go downhill. The Takemotoza and Toyotakeza,
which had been at the center of the performing arts world,
began to lose their luster and declined substantially
in the Kansei era (1789-1801). Next came the so-called
miyaji period of ningyo joruri, during which
performances took place at Shinto shrines, such as Goryosha,
Zamasha, and Inarisha in the Senba district. Virtually
no new works were performed; rather, famous older plays
were performed as classics.
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