YAMADA Kazuhito
Professor, Faculty of Letters,
Doshisha University
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In 1872 (Meiji 5) UEMURA
Daisuke opened Bunrakuza in Matsushima. This was the first
time the word "bunraku" appeared in the name of a theater,
and it marked the start of Meiji bunraku in which TAKEMOTO
Koshijidayu II, TAKEMOTO Osumidayu III, and shamisen
player TOYOZAWA Danpei were the leading figures. During
this period a competing theater called Hikorokuza attained
prominence by offering a different style of performance.
In the end, however, only the Bunrakuza remained, and
this is the style that survives to the present day. The
term ningyo joruri also originated during the Meiji
period. The original Bunrakuza was followed by Yotsubashi
Bunrakuza, Dotonbori Bunrakuza, Asahiza, and finally today's
National Bunraku Theatre of Japan as the center of the
ningyo joruri artistic tradition.
2. Unique Characteristics of
Ningyo Joruri
In ningyo joruri the puppeteer performs to the
accompaniment of the tayu (chanter) and shamisen.
The three performers work as one to bring to life the
characters in sewamono (contemporary dramas set
in the time they were written) and jidaigeki (historical
dramas set earlier than the time they were written). Taking
familiar happenings as their material, they illustrate
the workings of human emotions using puppets nearly the
size of the spectators. They portray epic poems about
great historical events, giving the audience a glimpse
of the unknown side of mighty heroes. This is puppet theater
for adults. The subtle balance achieved between the tayu,
shamisen, and puppeteer is what gives the performances
their special flavor and allows them to transcend the
text of the plays.
1) Tayu (Chanter) and Shamisen
In a ningyo joruri performance, the tayu
(chanter) is the person who moves the story forward. In
addition, the puppets are manipulated in synchronization
with the chanting of the tayu. All of the characters
who appear onstage are performed by a single tayu,
who changes his voice to match each character. The
tayu expresses the varying personalities and feelings
of the characters being portrayed. In addition, he acts
as narrator, keeping the story moving along. The role
of the tayu is not limited to evoking the scene being
played and providing explanation. He acts as an omniscient
narrator who knows the history and can predict the future
of each character who appears. Throughout the history
of ningyo joruri, the tayu has always been
the leader of the troupe. In the old days the professional
name of the person who acted as representative for his
troupe used to be written under the troupe's crest in
the listing of entertainers, and this status was referred
to as monshita or "beneath the crest." Many leading
tayu have held this position. The tayu is
the director who brings together and leads all the elements
of the ningyo joruri performance.
The shamisen
player uses the variegated and profound tones of his instrument
to assist the chanting of the tayu. Sometimes he leads
the tayu by skillfully expressing the feelings and personality
of the characters.
The shamisen player provides
much more than mere accompaniment. In fact, he acts as
another storyteller. The tayu and shamisen
player wear matching costumes and work together as a team
over many years, amplifying and deepening their performances
based on a profound mutual understanding. In this way
a uniquely distinctive artistry is created between them.
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