Rakugo

is a form of Japanese verbal comedy, traditionally performed in '' yose'' theatres. (Bibliography
volume 38(1)article
The lone sits on a raised platform, a . Using only a and a as props, and without standing up from the seiza sitting position, the rakugo artist depicts a long and complicated comical (or sometimes sentimental) story. The story always involves the dialogue of two or more characters. The difference between the characters is depicted only through change in pitch, tone, and a slight turn of the head.

Description

The speaker is in the middle of the stage, and his purpose is to stimulate the general hilarity with tone and limited, yet specific body gestures. The monologue always ends with a narrative stunt ( punch line) known as or , consisting of a sudden interruption of the wordplay flow. Twelve kinds of ochi are codified and recognized, with more complex variations having evolved through time from the more basic forms.

Early rakugo has developed into various styles, including the , the , the , and . In many of these forms the ''ochi'', which is essential to the original rakugo, is absent.

Rakugo has been described as "a sitcom with one person playing all the parts" by Noriko Watanabe, assistant professor in the Department of Modern Languages and Comparative Literature at Baruch College.

Lexical background

The precursor of rakugo was called . The oldest appearance of the kanji which refers specifically to this type of performance dates back to 1787, but at the time the characters themselves (落とし噺) were normally read as ''otoshibanashi'' ("dropping story").

In the middle of the Meiji period (1868–1912) the expression ''rakugo'' first started being used, and it came into common usage only in the Shōwa period (1926–1989).

History

One of the predecessors of rakugo is considered to be a humorous story in '' setsuwa''. The '' Konjaku Monogatarishū'' and the '' Uji Shūi Monogatari'' were ''setsuwa'' collections compiled from the Heian period (794–1185) to the Kamakura period (1185–1333); they contained many funny stories, and Japanese Buddhist monks preached Buddhism by quoting them. In '' Makura no Sōshi'', it is described that the monks had gained a reputation for their beautiful voices and narrative arts.落語の歴史.
Japan Arts Counsil.

The direct ancestor of rakugo is a humorous story among the stories narrated by ''otogishū'' in the Sengoku Period (1467–1615) . ''Otogishū'' were scholars, Buddhist monks and tea masters who served daimyo (feudal lord), and their duty was to give lectures on books to daimyo and to be a partner for chatting. Anrakuan Sakuden, who was an ''otogishū'' and a monk of the Jōdo-shū, is often said to be the originator of ''rakugo'', and his 8 volumes of ''Seisui Sho'' contain 1000 stories, including the original stories of ''rakugo''.

Around 1670 in the Edo period (1603–1867), three storytellers appeared who were regarded as the first ''rakugoka''. Tsuyuno Gorobe in Kyoto, Yonezawa Hikohachi in Osaka, and Shikano Buzaemon in Edo built simple huts around the same age and began telling funny stories to the general public for a price. Rakugo in this period was called ''Tsujibanashi'', but once it lost popularity, rakugo declined for about 100 years.落語入門.
Edogawa City

In 1786, Utei Enba presided over a ''rakugo'' show at a '' ryōtei'', a traditional Japanese catering venue, in Mukōjima. He is regarded as the father of the restoration of ''rakugo''. His performances led to the establishment of the first theater dedicated to rakugo (''yose'') by Sanshōtei Karaku and Sanyūtei Enshō, and the revival of ''rakugo''.

During the Edo period, thanks to the emergence of the merchant class of the ''chōnin'', ''rakugo'' spread to the lower classes. Many groups of performers were formed, and collections of texts were finally printed. During the 17th century the actors were known as ''hanashika'' (found written as , , or ; "storyteller"), corresponding to the modern term, .

Before the advent of modern ''rakugo'' there were the : short comical vignettes ending with an ''ochi'', popular between the 17th and the 19th centuries. These were enacted in small public venues, or in the streets, and printed and sold as pamphlets. The origin of ''kobanashi'' is to be found in the ''Kinō wa kyō no monogatari'' (''Yesterday Stories Told Today'', c. 1620), the work of an unknown author collecting approximately 230 stories describing the common class.

Types of ''ochi''

’’Niwaka ochi’’: An ochi using a pun, it is also called 'Jiguchi Ochi.'

’’Hyoshi ochi’’: An ochi that uses repeated punchlines.

’’Sakasa ochi’’: An ochi with a twist punchline, one where roles are reversed

’’Kangae ochi’’: A punchline that is hard to understand but people will laugh after pondering for a while.

‘’Mawari ochi’’: A punchline that ends the story by returning to the beginning.

’’Mitate ochi’’: An ochi that uses unexpected punchlines.

’’Manuke ochi’’: An ochi that ends the story with a dumb or ridiculous joke

’’Totan ochi’’: An ochi using a signature phrase.

’’Buttsuke ochi’’: An ending with a punch line based on a misunderstanding.

’’Shigusa ochi’’: A punchline that uses a physical gesture.

Important contributors

Many artists contributed to the development of ''rakugo''. Some were simply performers, but many also composed original works.

Among the more famous ''rakugoka'' of the Tokugawa period were performers like Anrakuan Sakuden (1554–1642), the author of the ''Seisuishō'' (''Laughter to Chase Away Sleep'', 1628), a collection of more than 1,000 stories. In Edo (today's Tokyo) there also lived (1649–1699) who wrote the ''Shikano Buzaemon kudenbanashi'' (''Oral Instruction Discourses of Shikano Buzaemon'') and the ''Shika no makifude'' (''The Deer's Brush'', 1686), a work containing 39 stories, eleven of which are about the kabuki milieu. (1743–1822) was author of the ''Rakugo rokugi'' (''The Six Meanings of Rakugo'').

Kyoto was the home of (1643–1703), who is considered the father of the rakugo tradition of the Kamigata area (). His works are included in the ''Karukuchi tsuyu ga hanashi'' (''Jocular Tsuyu's Stories'', date of composition unknown), containing many word games, episodes from the lives of famous literary authors, and plays on the different dialects from the Tokyo, Osaka, and Kyoto areas.

Of a similar structure is the ''Karukuchi gozen otoko'' (''One-liners: An Important Storyteller'', date of publication unknown) in which are collected the stories of , who lived in Ōsaka towards the end of the 17th century. An example from Yonezawa Hikohachi's collection:

For the poor man is already dead. The joke becomes clearer when one notes that a Japanese traditional bathing tub is shaped like a coffin.

Current performers

Current ''rakugo'' artists include Tachibanaya Enzō, Katsura Bunshi VI, Tachibanaya Takezō II, Tatekawa Shinosuke and Hayashiya Shōzō IX. Furthermore, many people regarded as more mainstream comedians originally trained as rakugoka apprentices, even adopting stage names given to them by their masters. Some examples include Akashiya Sanma, Shōfukutei Tsurube II, and Shōfukutei Shōhei. Another famous ''rakugo'' performer, Shijaku Katsura II, was known outside Japan for his performances of ''rakugo'' in English.
English Rakugo performances have been studied for how they convey traditional Japanese cultural values through adapted scripts, making the art form more accessible while preserving its original narrative style.

Titles and Repertoire

''Rakugo'' stories are generally divided into two categories: classical repertoire stories (''koten rakugo'', 古典落語) and original stories (''shinsaku rakugo'', 新作落語). ''Koten rakugo'' consists of traditional tales that, in principle, can be adapted and performed by any storyteller. In contrast, ''shinsaku rakugo'' refers to new, original works created by individual performers. As the copyright holders, these performers must grant permission before their stories can be performed by others. While some classical repertoire stories are attributed to specific authors, these authors have often been deceased for a considerable time, allowing the stories to enter the shared repertoire.

Notable examples of classical repertoire stories include:
* – a kaidanbanashi, or ghost story
* – the life of a boy with a ridiculously long name
* – a group of boys try to scare off a boaster
* – a naive lord enjoys commoners' foods
* – a meta-gag in which a father is mocked by his son because of his bad storytelling of the Japanese folktale Momotarō
* – a tree begins growing out of a man's head
* – a man tries to outwit the owner of a piece of antique porcelain
* – a good-for-nothing husband finds a huge sum of money
* – cash reward to whom that could identify a strange fish

Notable ''rakugoka''

Edo (Tokyo)

Kamigata (Osaka)

See also

*'' Akane-banashi''
*'' Descending Stories: Showa Genroku Rakugo Shinju''
*'' Fallen Words''
* Kyōgen
* Manzai
*Stand-up comedy

References

Further reading

* Brau, Lorie. ''Rakugo: Performing Comedy and Cultural Heritage in Contemporary Tokyo''. Lanham, MD: Lexington Books, 2008.
* McArthur, Ian. ''Henry Black: On Stage in Meiji Japan''. Clayton: Monash University Publishing, 2013.
* Morioka, Heinz, and Miyoko Sasaki. ''Rakugo: The Popular Narrative Art of Japan''. Cambridge, MA: Harvard University Asia Center, 1990.
* Shores, M.W.
The Comic Storytelling of Western Japan: Satire and Social Mobility in Kamigata Rakugo
'. Cambridge: Cambridge University Press, 2021.

External links

Rakugo video (in English) SFGTV San Francisco


* ttps://rakugogaku.com/ Learning Japanese Language and Culture through Rakugo Appreciation
The Conversation article about rakugo and gender

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Japanese literature
Theatre of Japan
Japanese folk art
Japanese comedy