A History of Japanese Theater : Bunraku and Kabuki / by Kawatake Toshio.

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