A History of Japanese Theater : Bunraku and Kabuki /
by Kawatake Toshio.
- Yokohama : Kokusai Bunka Shinkokai, 1971.
- v.
v.2 Introduction: Tokugawa Theater: Its General Nature and Relation to Japanese Theater 1. The Four Great Performing Arts The Four Great Performing Arts-The Performing Arts of the Edo Period and Traditional Theater-Common Aspects of Traditional Arts- Hereditary Tradition and Composite Art-Differences Between Bunraku- Kabuki as Sister Arts 2. Bunraku and Kabuki as Sister Arts Common Basis-Their Interrelationship as Shown in Chûshingura by Chikamatsu 3. Their Common Characteristics Visuality and Colorfulness as Shown in Chûshingura-Differences from Bugaku and Noh-Realism-Freshness of Expression-Demands of the People of the Edo Period 4. This-World Humanism of the Popular Audience Characteristics of Edo Period Culture in Comparison with Those of the Middle Ages-This-Worldliness-Sparseness of Religious Qualities and Eulogies of Man as Shown in Narukami The Cases of Tomomori and Prometheus-Liberation of Man Parallel to That of the Renaissance of the West-The Year 1603-Baroqueness of Tokugawa Theater 5. Social Restraints Peculiarities of the Feudal Regime-Suppression Thereby, and an Inde- pendent Aesthetic Beauty-Onnagata, the Female Impersonators-Ficti- tious Historicity as Shown by Chûshingura-Absurdity and Nonsense -Drama, not Historical, but Contemporary 6. Bunraku-Kabuki and the Stratification of Japanese Theater Completely Different Sources Stratification-Differences from the Wes -The Position of Bunraku and Kabuki Chapter I. Bunraku 1. Its Style and Beauty The Name Bunraku Bunraku and Ningyo Joruri-Bunrakuken and the Bunrakuza Theater The Three Components The Three Components-The Stage-The Musicians' Seat-Three Performers Tayû and Samisen Gidayû as One Type of Joruri-Old Joruri and New Joruri-Distinc- tion between Recitative and Dialogue-Greek Drama and Noh-The Role of Samisen Player-Thick-Necked Samisen Puppets and Puppeteer. Structure of the Puppets-Expressiveness of the Puppets Heads-Manip- ulation of the Puppets-Reality in Comparison with That of Noh- Three Men per Puppet-Breathing in Unison-Severe Discipline The Aesthetics of the "Super-puppets". Unmasked Puppeteer-Meaning of the Black Worn by Puppeteers- Unfamiliar Sensation-Apathetic Appearance and Empathy-Puppeteer's Self-Negation-E. G. Craig's Über-Marionette Theory-Aesthetics of the Uber-Marionette and Über-Mensch Puppet Plays for Adults. Proportions of the Puppets-Small Heads of the Bunraku Puppets- Forms and Contents for Adults 2. Its Drama Literary Jôruri Gidayů Jöruri and Old Joruri-Literary Content Surpassing That of Kabuki The Varieties of Joruri Two Main Subdivisions: Jidaimono and Sewamono-Jidaimono- Oiemono-Ochomono (or Ôdaimono)-Sewamono The Composition of Jôruri Multiple Acts-Five-Act and Three-Act Development-Comparison with the Dhamanegy of the West The Drensatie Elements in Jocuri Swamonow Comulctions in Prodal Scity-Sariger, Double Suicide, Lamento- The Dead by Prada Obligation and Delt is Sone raki Shings The Social Background-Life in the Feudal Onder-The Seven-Fire Mience and Rythmical Effects The Dramatic Elements in Jöruri-Jidaimeno... Castes of Tragedy in Terakoya-Sacrifure of Kimfolle Tragedy of Parting of Prest and Cloll-Lamentation in Seven-Fire Meter-The Role of Frudel Lond is Kumagai Jinya-Differences from Noh-The Tragedy of the Comonen Man 3. Bunraku's History and Present An Orderly Development Puppet Plays for Adults-Resemblaners to Greek Theater-Fusion of the Ceremonial Plays and Epic Literature The Three Elements The Origin and Development of Puppeteering Sacred Dolls Introduction and Adoption of Kairaishi Puppet-Noh- Kyogen and Puppets-Mechanical Gadgetry Joruri and the Samisen From Heikyoku to Jiruri-Novelty of The Tale of Princess Jöruri- Jahisen and Samisen-Samisen Adopted for Puppet Play-The Contemporaries of Shakespeare The Age of Old Jõruri Edo's Kimpira-bushi-Development in the Kansai-Harimanojő and Uji Kaganojo-Appearance of Giday-Characteristics of Old Joruri- Shuase Kagekiyo Development and Decline of Gidayů Jõruri Creation of Ede Drama by Chikamatsu-Two Theaters: Takemotoza and Toyotakeza-Perfection of the Three-man Manipulation by Bun- zaburo-Flourishing of Bunraku and Namiki Sasuke-Bunraku's Decline and the Rise of Kabuki Present Conditions of the Bunrakuza Chapere II. Kabuki 1. In Style and Besty Actor-emerse Performance Complex Variety of Kabuki a. The Stage and Thester The Essential Nature of the Kabuki Theater Breaking Away Fon Noh Hanamichi and its Origin-The Raison d'être of Hanamichi Essence of Kabuki Revealed in Hanamichi The Nature of Andence Seats-Theater for Reception and Cocktails Twe Places of Vicr The Revolving Stage and Other Details Revolving Stage and Its Use-Influence on the West-Appearance of Theatrical Production-Choboyuka Geza Music-Miscellaneous Elements-The Curtain b. Actors and Their Art Their Low Social Status and Popularity Aragoto. The Edo Style Artistry-An Example: Shibaraku-Kumadori- Dialogues and Tsurane-Mie Poses-Teachings of Danjuro Wagoto.. The Kansai Style Artistry-The Manners and Customs in Gay Quarters -Tôjuro's Words on Theater The Art of the Onnagata Characteristics of Kabuki's Female Impersonators-Living as a Woman Even Offstage-Ayame's Teachings The Variety of Roles Tekiyaku, Jitsuaku, Shikiaku, Irogataki, Hagataki, etc.-Jitsugoto -The Beauty of the Combination and Harmony of Roles Actors' Lineage and Nicknames c. Style of Performance and Kabuki's Beauty What is Kabuki's Stylistic Beauty? Musicality. Hyoshigi-Tsuke-Geza Music-Uta-Sound Effects-Odaiko's Role in Kabuki-Emotional Production, Snow and Ghost-Degatari and Debayashi-Seven-Five Meter-Agreeable Musical Effect Visual Appeal. Formative Art in Motion Actors and Their Art-Tsura Akari-Mie Poses Outride the Curtain-Kata Confrontations Somersault-Quick Changes of Costume Lifts Half-turn-Collapsible House Suppon -Stylized Beauty Various Aspects of Kabuki's Attractions Love Affairs-Murders Torment-Extortion-Divorce-Parting- Lamentation Other Scenes 2. Kabuki's Drama Classification Gidayů Kyôgen-Noh-Torimono-Plays properly written for Kabuki Kabuki's Eighteen Favorites Aragoto, Kizewamono and Edo Dance Plays Aragoto and the "Eighteen Favorites"-Meaning of the "Eighteen Favorites"-Their Variety-Their Characteristics (using Kanjincho and Sukeroku as Examples) Kizewamono Meaning of Ki-Origins-Yotsuya Kaidan's Characteristics as a Ki- zewamono Play Plays Reflecting the Life of the Lower Classes of Edo Society The Mood of Blood-letting Scenes-Characteristics of Kizewa- mono-Eroticism and Seven-Five Meter-Stylized Beauty and Mo- mentary Pleasure-Kizewamono View of Life as seen in Izayoi Sei- shin-Differences from the Plays of the Early Edo Period-Couples Who Did not Commit Suicide-Weight of the Performing Styles of Individual Actors Dance Pieces. Classification According to Origin-Hengemono or Transformations- Historical Background of Development and Change-Edo's Popular Dances Classification According to Style of Samisen Music-Classifica- tion According to Subjects Kabuki and the Life of the People Edo's Three Theaters-Business Aspects-Relationship with the Seasons -Kaomise or Starting the Year's Performances-New Year's Plays- Yayoi Plays Summer Plays-Autumn Plays Relationship with Folk Beliefs and Festivals-A Part of the Life of the Masses Awareness of the Playwrights 3. The History of Kabuki's Development and the Present Five Periods of Kabuki's Development The First Period: Sources and Genesis Okuni of Izumo-Fûryû-Development and Historical Background of Female Performers Popularity of Contemporary Dances-Bateren Zubon (Catholic Costume) and Rosary-Etymology of the Word "Kabuki"-Its Appeal-Ban on Female Performers-Young Men's Kabuki The Ban Repeated-Two Conditions for a New Start The Second Period: The Establishment of Real Dram with Dialogue Enlargement of the Stage and Its Special Character-Development of the Dramatic Aspects (Aragoto, Wagoto), and Female Impersonators The Third Period: Expansion through Adaptions from Bunraku Adoption from Gidayů Plays-Kabuki Replaces Bunraku Develop- ment of Edo Sewamono and Dance Plays-Bungobushi and Three Jóruri The Fourth Period: The Maturation of Edo Kabuki Earlier and Later Periods-Kizewamono and Hengemono in the Earlier Period and Tsuruya Namboku-Tempo Reforms-Stylistic Ar- rangement of the Beauty in the Later Period and Kawatake Mokuami The Fifth Period: Kabuki's Modernization Trends toward Westernization-Westernization of the Theaters-Per- sistency of the Plays, Techniques and Performance-Kabuki's Being Made a Form of Classic Drama-Conditions before and after World War II- Overseas Performances-Recognition of the Universality of Kabuki's Beauty-Establishment of the National Theater Conclusion Author's Intentions and View in Writing this Book-Enumeration of Kabuki's Stylistic Beauty and Explaining the Contents of the Plays is Insufficient Its Ties to the Japanese People and Japan-Perception of Beauty, and Living Conditions, in Pre-Modern Japan-A Real, Baroque, Popular Drama, Differing from Noh-Universality and Basic Differences from Western Theater