History
's history goes as far back as the 16th century, but the origins of its modern form can be traced to around the 1680s. It rose to popularity after the playwright Chikamatsu Monzaemon (1653–1724) began a collaboration with the chanter Takemoto Gidayu (1651–1714), who established the Takemoto puppet theater in Osaka in 1684. Originally, the term referred only to the particular theater established in 1805 inElements of the form
The puppets of the Osaka tradition tend to be somewhat smaller overall, while the puppets in the Awaji tradition are some of the largest as productions in that region tend to be held outdoors. The heads and hands of traditional puppets are carved by specialists, while the bodies and costumes are often constructed by puppeteers. The heads can be quite mechanically sophisticated; in plays with supernatural themes, a puppet may be constructed so that its face can quickly transform into that of a demon. Less complex heads may have eyes that move up and down, side to side or close, and noses, mouths, and eyebrows that move. Controls for all movements of parts of the head are located on a handle that extends down from the neck of the puppet, and are reached by the main puppeteer inserting their left hand into the chest of the puppet through a hole in the back of the torso. The main puppeteer, the , uses their right hand to control the right hand of the puppet, and uses their left hand to control the puppet's head. The left puppeteer, known as the or , depending on the tradition of the troupe, manipulates the left hand of the puppet with their own right hand by means of a control rod that extends back from the elbow of the puppet. A third puppeteer, the , operates the feet and legs. Puppeteers begin their training by operating the feet, then move on to the left hand, before being able to train as the main puppeteer. Many practitioners in the traditional puppetry world, particularly those in the National Theater, describe the long training period, which often requires ten years on the feet, ten years on the left hand, and ten years on the head of secondary characters before finally developing the requisite skills to move to the manipulation of the head of a main character, as an artistic necessity. However, in a culture like that of Japan, which privileges seniority, the system can also be considered a mechanism to manage competition among artistic egos and provide for a balance among the demographics of the puppeteers in a troupe in order to fill each role. All but the most minor characters require three puppeteers, who perform in full view of the audience, generally wearing black robes. In most traditions, all puppeteers also wear black hoods over their heads, but a few others, including the National Bunraku Theater, leave the main puppeteer unhooded, a style of performance known as . The shape of the puppeteers' hoods also varies, depending on the school to which the puppeteer belongs. Usually a single chanter recites all the characters' parts, altering his vocal pitch and style in order to portray the various characters in a scene. Occasionally multiple chanters are used. The chanters sit next to the player. Some traditional puppet theaters have a revolving platform for the chanter and player, which rotates to bring replacement musicians in for the next scene. The used in is slightly larger than other kinds of and has a different sound, lower in pitch and with a fuller tone. shares many themes withToday
Osaka is the home of the government-supported troupe at National Bunraku Theatre. The theater offers five or more shows every year, each running for two to three weeks in Osaka before moving to Tokyo for a run at the National Theater. The National Bunraku Theatre also tours within Japan and occasionally abroad. Until the late 1800s there were also hundreds of other professional, semi-professional, and amateur troupes across Japan that performed traditional puppet drama. Since the end of World War II, the number of troupes has dropped to fewer than 40, most of which perform only once or twice a year, often in conjunction with local festivals. A few regional troupes, however, continue to perform actively. The Awaji Puppet Troupe, located on Awaji Island southwest ofMusic and song
The chanter/singer () and the player provide the essential music of the traditional Japanese puppet theater. In most performances only a player and a chanter perform the music for an act. Harmony between these two musicians determines the quality of their contribution to the performance. The role of the is to express the emotions and the personality of the puppets. The performs not only the voice of each of the characters, but also serves as the narrator of the play. Located to the side of the stage the physically demonstrates facial expressions of each character while performing their respective voices. While performing multiple characters simultaneously the facilitates the distinction between characters by exaggerating their emotions and voices. This is also done to maximize the emotional aspects for the audience. In the which is the largest as well as that of the lowest register, is employed. The instruments most frequently used are flutes, in particular the , the and various percussion instruments.Puppets
The head
The heads of the puppets () are divided into categories according to gender, social class and personality. Certain heads are created for specific roles, others can be employed for several different performances by changing the clothing and the paint. The heads are in effect repainted and prepared before each presentation. The preparation of the hair constitutes an art in and of itself. The hair distinguishes the character and can also indicate certain personality traits. The hair is made from human hair, howeverCostumes
The costumes are designed by a costume master and are composed of a series of garments with varying colors and patterns. These garments typically include a sash and a collar as well as an underkimono (), aConstruction
A puppet's skeletal structure is simple. The carved wooden is attached to the head grip, or , and thrust down an opening out of the puppet's shoulder. Long material is draped over the front and back of the shoulder board, followed by the attachment of cloth. Carved bamboo is attached to create the hips of the puppet, arms and legs are tied to the body with lengths of rope. There is no torso to the puppet, as it would merely block out the puppeteer's range of movement of the individual limbs. The , or costume of the doll is then sewn on to cover over any cloth, wooden or bamboo parts that the artist does not wish to be seen. Finally, a slit is created in the back of the costume in order for the chief puppeteer to firmly handle the head stick.Text and the puppets
Unlike kabuki, which emphasizes the performance of the main actors, simultaneously demonstrates elements of presentation (directly attempting to invoke a certain response) and representation (trying to express the ideas or the feelings of the author). In this way attention is given to both visual and musical aspects of the puppets as well as the performance and the text. Every play begins with a short ritual in which the , kneeling behind a small but ornate lectern, reverentially lifts their copy of the script to demonstrate devotion to a faithful rendering of the text. The script is presented at the beginning of each act as well.Performers
Despite their complex training the puppeteers originated from a very destitute background. The were itinerants and as a result were treated as outcasts by the educated, richer class of Japanese society at the time. As a form of entertainment, the men would operate small hand puppets and put on miniature theatre performances, while women were often skilled in dancing and magic tricks which they used to tempt travelers to spend the night with them. The whole environment that gave birth to these puppet shows is reflected in the themes.Stage
The musician's stage ()
The is the auxiliary stage upon which the is performed. It juts out into the audience area at the front right area of the seats. Upon this auxiliary stage there is a special rotating platform. It is here that the chanter and the player make their appearance, and, when they are finished, it turns once more, bringing them backstage and placing the next performers on the stage.The partitions () and the pit ()
In the area between upstage and downstage, there are three stage positions, known as "railings" (). Located in the area behind the second partition is often called the pit and it is where the puppeteers stand in order to carry out the puppets' lifelike movements.Small curtain () and screened-off rooms ()
This stage looks from an angle of the audience, the right side is referred to as the (stage left), while the left side is referred to as the (stage right). The puppets are made to appear and then leave the stage through the small black curtains. The blinded screens are just above these small curtains, and they have special blinds made from bamboo so that the audience cannot see inside.Large curtain ()
The is a large, low hanging curtain hanging off of a ledge called the . It is used to separate the area where the audience is sitting from the main stage. The puppeteers stood behind the , holding their puppets above the curtain while being hidden from the audience. However, the practice established later in the form would let the actors be seen on stage moving with the puppets, nulling the use of the curtains.See also
* * Shigeru Nanba, Japanese painter who features puppets in his worksReferences
External links