Bunraku

History
The earliest form of Bunraku was introduced by a Japanese storyteller named Takemoto
Gidaya in 1684 after he set up his own theater in Osaka, Japan. Takemoto was assisted by
Chikamatsu Monzaemon, who is considered the greatest playwright in Japanese history, as well
as Takeda Izumo, a famous theater owner and manager. Takemoto and Chikamatsu provided the
art for Bunraku while Izumo funded the theater and provided technical expertise. Bunraku
originally began as popular entertainment for commoners during the Edo Period in Osaka, and
reached its artistic peak in the early 17th century. Japanese puppet theater was most fashionable
in the 18th century as the originally small puppets grew to the size we see today, and the writings
of Chikamatsu played a large part in making it popular; Chikamatsu’s The Love Suicides at
Sonezaki is known to be comparable in importance to Shakespeare's Romeo and Juliet. After
Chikamatsu’s death, Banraku’s popularity declined due to lack of adequate playwrights.
Fortunately, the interest was revived in the 19th century by puppeteer Uemura Bunrakuken as
two Japanese theater troupes joined and formed the Bunraku Association in 1963. The
organization today sponsors regular performances held at the National Theater in Tokyo and the
National Bunraku Theater in Osaka.

What Is It
While puppet theater is often seen as entertainment for children, the Japanese people
consider Bunraku as a serious form of art. Bunraku plays are based on tales or legends of past
centuries with themes presenting conflict between social obligations and human emotions. The
puppets used in Bunraku are for the most part life-size, but can range anywhere from two to four
feet tall or more depending on the age and gender of the character, as well as the tradition of the
specific puppet troupe. About 40 or 50 puppets are used in a single play, and if taken care of
properly, a puppet can be used for 150 years. In order to make a puppet’s wig, individual strands
of human hair and yak hair are sewn into the doll mask. The grueling process
can take up to 3 weeks depending on the doll as there are 80 different hairstyles
for male puppets and 40 for female ones. The heads and hands of traditional
puppets are carved by specialists and are very sophisticated mechanically while
the bodies are constructed by puppeteers. 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, noses, ears, mouths, and eyebrows
that move. Fun fact, the heads of the puppets get their spring from the fins of
right whales found in the Pacific, and even though these whales are endangered,
enough old fins have been stockpiled to last for another hundred years.
The main puppeteer, called an omozukai, is visible to the audience and
sometimes colorfully dressed while the other two puppeteers, known as assistant
operators, are cloaked in black robes and hoods to symbolize that they are meant
to be taken as invisible. The main puppeteer is generally the star of the show and who most of
the audience comes to see. Popular Japanese puppeteers like Yoshida Tamao, Yoshida
Minosuke, and Yoshida Bunjaku help fill the theaters with sponsors. To perform as the main
puppeteer, 22 years of experience is required and includes two years in a Bunraku training
school, 10 years learning to manipulate the puppets’ legs, and another 10 years learning to
manipulate the puppets’ arms and movement of the head. The omozukai uses his right hand to
control the right hand of the puppet, while one of the assistants moves the left hand, and the third
puppeteer operates the feet and legs. If all three puppeteers are not synchronized in their efforts,
the puppets’ movements will seem unnatural and the puppet will not appear to come to life.
The story is narrated by a single person, called the tayu, who also speaks the voices of all
the puppets, and therefore must have a diverse range of vocal expressions to represent both
genders and all ages. Traditional Japanese language is used for narration, with subtitles and
modern Japanese most often running simultaneously during the play. The pace of the narration is
dictated by accompanying music played on the shamisen (traditional Japanese string music). The
combination of the tayu, and the music of the shamisen are known as joruri. The tayu and the
shamisen player are constant companions during performance as the tayu tells the story and the
shamisen player conveys the emotion and essence of each character through his music. Notice,
the his in “his music”, as Bunraku puppeteers, narrators, and musicians are traditionally of the
male gender. During the play, tayu and shamisen player don't see the stage. The back and forth
between these two elements heighten the emotions of the characters in the play and creates a
certain tension that contributes to a successful performance that will typically last for 3-4 hours.

Where
In theatres such as the National Bunraku Theatre in Osaka, and National Theatre in
Tokyo, a day's performance is usually divided into two segments, one in the early afternoon and
one in the evening. Each segment is further divided into acts and tickets are usually sold per
segment, although in some cases they are also available per act. If you plan on seeing a
performance, tickets will typically cost between 1,500 and 6,500 yen.

The National Bunraku Theatre in Osaka

English programs and earphones are available. Performances are usually held in 3 week runs in
January, April, June, July, August, and November.

The National Theatre in Tokyo

Several runs are performed every year for 2-3 weeks during February, May, September, and
December. English headsets are available for rental for most performances with a rental fee of
650 yen and an additional 1,000 yen guarantee fee, but this is returned afterwards.

Links to some Bunraku performances

https://www.youtube.com/watch?v=1qcBSAwQVpw
https://www.youtube.com/watch?v=f4G68civvo8
Kabuki

History
Like Bunraku, today's Kabuki actors are all male although the art was created by a
woman named Izumo no Okuni. Okuni was a Shinto priestess who began performing in the early
1600s at various locations around Kyoto. She formed an all-female group of local misfits and
prostitutes, instructing them in theater, song, and dance. These women portrayed both male and
female characters in comedic plays known as onna-kabuki (onna meaning woman), parodying
everyday life in a witty and suggestive manner. This form of entertainment quickly became so
popular that rival troupes formed in cities as far away as Tokyo, and as a result, Okuni herself
was asked to perform for the Imperial Court. Kabuki was initially seen as a new and interesting
form of entertainment for the common people. The original meaning of Kabuki is believed to be
related to the verb kabuku, which means to behave oddly. It took decades to evolve into the
popular art form it has become because of its general association with prostitution, as performers
sometimes offered their services to spectators. After a moral panic frenzy, there was a complete
prohibition of women from performing in 1629. At first, young boys took over their roles, but
they too were eligible for prostitution and also banned. Finally, adult men began performing,
taking up the roles of both males and females and made the 18th century the golden age of
Kabuki history. The structure of their performances became more formalized, recurring character
types were established, and all stigma had been erased; however, the movements and visuals
remained over the top as this era of Kabuki has persisted as one of the greatest and most famous
for Japanese artists.

What Is It
Kabuki is made up of three Chinese characters, ka meaning sing, bu representing dance,
and ki indicating skill. Production elements like costumes, lighting, props, and set designs
compliment performance aspects such as song and dance. Music is created by both singers and
instruments to help set the narrative tone and pacing of a scene. Songs may be performed by one
or many singers at a time and are usually accompanied by a shamisen and other instruments that
can be used to create sound effects or cues for the actors. Depending on the performance,
musicians may be off stage entirely, positioned in the back or side of the stage, or even directly
incorporated into the action of the play. A joy of Kabuki is that dance numbers are inserted into
performances at almost any opportunity. Many of the movements will differ based on the
character. This is seen as female characters, or onnagata, flow daintily while comedic characters,
or doki, will often bounce. As it pertains to skill, Kabuki actors will usually wear traditional
Japanese Kimonos as many dramas tend to be set in the past. One of the most important skills of
the actors is simply manipulating and moving in their heavy costumes. The costumes and the
accompanying wigs are made by hand by skilled artisans and are sometimes woven with fine
silver and gold thread. One defining feature of Kabuki is the white paint known as oshiri that
covers the faces of the actors to make them more visible and dramatic. Actors will apply their
own makeup so they can better understand their character. During a play one might see
additional features such as colored lines that are based on the character’s traits. Patterns may also
differ depending on the character’s gender. For example, red represents qualities like passion and
anger while blue symbolizes evil or sadness. Stage decorations are lavish and typically include
complex machinery. Moving lifts, traps, and curtains allow the performers and backgrounds to
undergo incredible transformations. For instance, an actor may suddenly disappear from the
stage and reappear in the audience, or a background may revolve to simulate a ship moving
across water. When actors themselves need to transform, a stage assistant, or koken, will help
actors with costume changes and props. They often wear all black to maintain the illusion that
the characters are transforming on their own. Many performances end with a lively finale
featuring the whole cast. These elements combine to produce a visually stunning and captivating
performance.
A unique feature of Kabuki performance is that what is on show is
often only part of an entire story, but is usually the best part. Plots are
typically based on historical events, warm-hearted dramas, moral conflicts,
love stories, tales of tragedy, or other well known stories. The three main
categories of Kabuki play are jidaimono, early historical and legendary
stories, sewamono, contemporary tales post 1600s, and shosagoto, dance
dramas. One of Kabuki's most central dramatic themes is a clash between
morality and human emotions. Japanese moral ideals, both historically and
today, rely heavily on religious philosophies of Shinto, Buddhism, and
Confucianism, and tend to emphasize qualities like devotion to one’s
elders and community; however, emotions like revenge and love often get
in the way of familial and other duties, creating the central conflict of most
plays. Some famous Kabuki plays include: Kanadehon Chushingura and
Sugawara Denju Tenarai Kagami.
During performances, it’s not unusual for audience members to shout and cheer for their
favorite actor when he appears on stage or to applaud when something exciting occurs. All
Kabuki actors have a stage name, or yego, which is closely associated with the theater troupe that
he is from. In the world of Kabuki, troops are closely knit hierarchical organizations, usually
continued through generations within families.

Where
In olden days, mainstream Kabuki was performed at selected venues in big cities like
Edo, Osaka, and Kyoto. Local versions of Kabuki also took place in rural towns. Today's
performances are usually divided into two or three segments, one in the early afternoon and one
towards the evening, and each segment is further divided into acts. Tickets are usually sold per
segment although in some cases they are also available for acts. Tickets typically cost around
2,000 Yen for a single act or between 3000 and 25,000 Yen for an entire segment depending on
the location of the seat. Formal dress code is not required when attending a Kabuki play, but
decent dress and footwear are recommended.

Kabukiza Theatre
The kabukiza theater is the most accessible theater for foreign tourist Thomas gauging place on
this everyday and offering single act tickets and Rental monitors that provide English subtitles
and explanations. Single act tickets are only available on the day at a dedicated ticket window,
while regular tickets can be booked online in English.

Minamiza Theatre in Kyoto

With a couple of runs per year, each one typically lasts between three to four weeks and are
usually performed at the minimum said theater. English information devices may or may not be
available depending on the performance.

Shochikuza Theatre in Osaka

Rhymes with typical lasts between 3 to 4 weeks each year an English information devices are not
usually available.

Links to a few Kabuki performances:

https://www.youtube.com/watch?v=jVDUcFOnVKk
https://www.youtube.com/watch?v=6oZu80KZAM4

Noh

History
The roots of Noh date back to around 1,300 years ago when a performing art called
Sangaku was brought over from China. As it merged with Japanese comic theater, it became a
new form of entertainment called Sarugaku. Sarugaku featured short dances and skits consisting
of impersonations and play on words. By the 13th century, several professional troops formed as
the skits grew into longer stories and songs and dances became more sophisticated. During the
mid 14th century, a father and son, Kan’ami and Zeami, turned Sarugaku into the art form of
Noh that we see today. While Kan’ami introduced complex rhythms and developed a very
advanced philosophy, Zeami wrote and performed in plays that touched and deeply moved those
who saw them. It was Zeami’s work that attracted not only the villagers, but also some of the
country's most powerful politicians, including Shogun Ashikaga Yoshimitsu. Although Zeami
eventually fell out of favor with the government, four main Noh troops were established and
received sponsorship from shrines and temples. During the Tokugawa period, the shogunate
made Noh its official ceremonial art which has led to the standardization of the art form. The
country's modernization drive following the Meiji Restoration nearly killed Noh since the
nation's leaders rejected everything associated with the samurai. Noh also faced a crisis during
and after World War II, but the tireless energy of a few dedicated known artists saved it from
extinction. A fifth troop was also added during this time, making five main Noh troops that have
survived and continue to perform till this day. Before WWII, women were not allowed to
perform Noh, but today there are more and more professionals.

What Is It
As one of the most ancient forms of theatre, Noh plays are extremely intense. Instead of
playing characters, Noh actors act more as storytellers who narrate the play. In order to express
something so abstract such as emotions, words are often found inadequate. As the play
progresses, dance and poetry are used to express the intensity of emotion as the stylized
movements help focus the energy on the emotion rather than on the individual personalities. In a
way, Japanese Noh itself is dance as much of each character moves throughout the play with
rhythmic gestures when conveying a story. The characters' movements are to the beat made by
the hayashi, or chorus. The motions are generally slow and precise, but depending on the
character or actions, motions may require a high tempo sequence. The hayashi is made up of four
instruments which include the flute made from bamboo, the shoulder drum, the hit drum, and the
stick drum. The drums give a very hollow thud while the flute has an eerie whistling sound. The
musicians combine drumming and their voices to set a rhythm for the performers, create the
mood, and set the pace for the show. The chorus will sit to the side of the stage and will often
echo the words of the characters or speak for them. It is of course according to the script and not
improvised. There is no individual interpretation in the art of Noh. Masks are also one of the
most essential components of a character and are
sacred in a sense as they are believed to have
spiritual-like powers. Masks will represent a
character’s personality and emotions as seen
through simple head motions. For example, a mask
may appear smiling when tilted upwards, but
frowning when positioned downwards. Japanese
Noh masks are created by skilled artisans, many
with a long history in the business. The costumes
worn by Noh actors are typically traditional
kimonos, as well as other garb that are vibrantly
colored and exquisitely embroidered. This elaborate style is reminiscent of more traditional times
when Noh was supported by wealthy patrons. Strict rules passed down for generations determine
the character's costume. For those who are well educated in Noh theatre, it is said that one can
accurately tell the age, gender, occupation, as well as social status just by looking at their dress.
Other elements which contribute to an intensification of the mood include the bare simplicity of
the stage which allow for no distraction from the main character himself, or the shite. While
performers were exclusively male in the past, women have been allowed to participate in Noh
plays since the 1940’s.
 As a strong emphasis has been placed on tradition over innovation in the Noh
community, Noh performances have remained unchanged throughout the centuries. A typical
Noh play is short while stories come from classic literature and depict both true and legendary
events; some examples of literature include The Tale of Genji, and The Tale of Heike as they are
popular performances. Many play settings tend to be between the 12th and 16th centuries, the
period during which Noh was supposedly formulated and perfected; only occasionally are there
new Noh plays written and performed. Noh plays can be divided into three types: Genzai Noh
which features human characters and events unfolding in a linear timeline, Mugen Noh which
involves supernatural worlds and beings, and Ryokake Noh that is a hybrid of the two. There are
also two distinct styles of performance. Geki Noh are plays based around the advancement of the
plot and the narration of the action, while Furyu Noh are largely dance pieces. Although there are
different types and styles of Noh, there tend to only be five central themes. Kami mono typically
features a deity in the lead role telling the mythical story of the shrine’s founding, shura mono
features the protagonist appearing as the ghost of a samurai pleading for salvation, onna mona
star female characters and feature elaborate songs and dances, and the last theme tends to be
miscellaneous with realistic stories or demon plays.
In addition to the passionate emotion and elaborate costumes and masks, a Noh
performance will include a break or interlude between acts known as kyogen. They perform a
crucial role in advancing the story, and generally occur in two different ways: katariai is a
storytelling interlude and ashiraiai is an interactive interlude. The most typical storytelling
interlude is the igatari, or sitting story. Usually, the kyogen actor plays a local person who
presents the ambiance of the Noh's story through an extended monologue delivered while sitting
on his knees in the center of the stage. The story is spoken in language that is relatively easy to
understand, and often includes episodes or background material that is not mentioned in the Noh.
This helps the audience achieve a deeper understanding of the story while setting the scene for
the reappearance of the shite in the second half. Interactive interludes are often found in Genzai
Noh in which the kyogen performer helps to advance the story by interacting directly with the
shite, but sometimes they also appear at the beginning of plays to set the initial scene.

Where
While nobility were some of the first patrons of Noh, some famous shrines and temples
can be seen with beautiful outdoor Noh stages that exist today. Many still hold occasional
performances, but often tickets are difficult to obtain. Below are a list of outdoor Noh theatres
that have been known to hold performances

Itsukushima Shrine
Hiraizumi’s Chusonji Temple
Kyoto’s Fushimi Inari Shrine
Tokyo’s Yasukuni Shrine
 Some of the easiest places to watch Noh today are indoor theatres with a built-in Noh
stage. These days a typical program lasts a couple of hours and consists of two or three Noh acts
with short kyogen interlude pieces in between. Tickets range in price from 3,000 up to 12,500
yen and can be bought over the counter or online. Some places offer discounted tickets to watch
a single act which may be ideal for those looking for a shorter program.

National Noh Theatre in Tokyo

Kanze Noh Theatre in Ginza
Cerulean Tower Noh Theatre in Shibuya
Otsuki Noh Theatre in Osaka
Nagoya Noh Theatre in Nagoya

Links to some Noh performances:

https://www.youtube.com/watch?v=108d4KnZPxo
https://www.youtube.com/watch?v=dgHkrtWP994

Kyogen

History
As briefly mentioned, Sangaku entered Japan from China and was a popular form of
entertainment that included elements like comedy, mime, acrobatics, juggling, and magic.
During the Heian period, Sangaku came to be called Sarugaku. Older Sarugaku stories tended to
be about country folk who found themselves at a loss in the capital. Manyoshu, an 8th century
collection of Japanese poetry was one of the first works to use the word kyogen and read as “silly
talk”. Gradually as the term was used in other works of literature, the term had begun to mean
nonsense, a joke, or something other than common sense. While much of Kyogen’s traditions
stem from the comedic characteristics of Sarugaku’s original form, Kyogen emerged as an
independent artform in the 14th century. After a period when there was much interaction
between various groups of actors, three Kyogen schools, the Okura, Sagi, and Izumi, who gained
support from the shogunate during the Edo period. Once Kyogen was performed for the
Shogunate, much of the improvisational nature of Kyogen died and many comedic style skits
were born. Kyogen declined dramatically after the Meiji Restoration leaving only two Kyogen
schools, the Izumi and Okura. Today the art form is not only performed in Noh performances,
but also performed on its own in a multitude of venues all over Japan.

What Is It
The main difference between the two forms of Kyogen is found in the laughter as
laughter isn’t typically found in Noh. While the term ai kyogen typically refers to Noh interludes,
Kyogen used by itself refers to two or three actors that lead the audience to gentle laughter
through the use of dialogue performed in a conversational style and practiced gestures. Many
Kyogen plays draw their inspiration from the real world, but also include satires of weak
samurai, dishonest priests, or unfulfilled women. During a performance, actors, who are only
male, share comedic asides and banter with the audience. The goal of Kyogen is to inspire
laughter as the language spoken is far less advanced compared to Noh and is easier for ordinary
Japanese people to understand. Language is also refined in vulgar and crude material but
includes rhythmical language and movement to add depth to characterization and story. Within
the Kyogen collection is over 260 plays. A few examples include: Kazumo, in which the spirit of
a mosquito appears a sumo wrestler in order to find a fresh supply of blood, Koji, where the
protagonist is a servant who eats his master’s tangerines and makes humorous excuses to avoid
punishment, and Inomoji as men express their desire to find wives. The action involved
throughout the show is more energetic and realistic as opposed to slow and stylized movements.
Actors are also typically dressed in less elaborate kimonos and accompanied by a chorus.

Where

Yamamoto Nohgakudo Theatre

On the first and third Saturdays of every month, Yamamoto Nohgakudo Theatre holds
four different performances of each of the art forms listed here and also includes game and dance
experiences. Guests are able to watch the plays as subtitles in English, Korean, and Chinese are
provided in addition to a few special treats and beverages.

Links to some Kyogen performances:

https://www.youtube.com/watch?v=sZFWpbC4u7U

References

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Bunraku. Traditional Kyoto. https://traditionalkyoto.com/culture/bunraku/.

Hays, J. (2014). Bunraku, Japanese puppet theatre. Facts and Details.

http://factsanddetails.com/japan/cat20/sub131/item713.html.
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http://factsanddetails.com/japan/cat20/sub131/item715.html.

Hays, J. (2014). Noh theatre: History, masks, costumes, actors and famous Noh plays.
Facts and Details. http://factsanddetails.com/japan/cat20/sub131/item716.html.

Hays, J. Kyogen, Rakugo, and modern theatre in Japan. Facts and Details.
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Kids Web Japan. History of Noh - Noh - Meet the Kids - Kids Web Japan - Web Japan.
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Kyogen. World Mime Organisation. https://www.worldmime.org/en/about-

mime/liaisons/101-liaisons/261-kyogen.html.

Larsen, B. (2019, July 5). What is Kabuki? 6 things to know about Kabuki theater. Japan
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Larsen, B. (2019, September 6). What is Noh? Complete guide to Noh theater. Japan
Objects. https://japanobjects.com/features/noh.

Noh drama: Asia for educators: Columbia University. Noh Drama | Asia for Educators |
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Noh theater. Japan Travel and Living Guide. https://www.japan-guide.com/e/e2091.html.

What is Kyogen? Introducing the world of Noh : What is Kyogen? (2020).

https://www.the-noh.com/en/world/kyogen.html.