Leiter S.L. Historical Dictionary of Japanese Traditional Theatre
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BANZUKE • 41
BANDO
ˆ
RYU
ˆ
. ‘‘Bando
ˆ
school,’’ a school of kabuki dance (see BUYO
ˆ
NO RYU
ˆ
HA) founded in 1820 by Bando
ˆ
Mitsugoro
ˆ
III. The school
popularized a number of henge mono. See also BUYO
ˆ
.
BANDO
ˆ
TAMASABURO
ˆ
V (1950–). Five generations of kabuki
actors. Yago
ˆ
: Yamatoya. The outstanding example in the line is
Tamasaburo
ˆ
V (1950–), the adopted son of Morita Kanya XIV, who
took the name in 1964. Renowned for his tall and willowy figure,
feminine good looks, acting and dancing talent, and aesthetic sensi-
bility, he is today’s most acclaimed onnagata. Tamasaburo
ˆ
also has
gained acclaim for female roles in modern Japanese and both modern
and classical Western dramas, including Shakespeare. He also has
directed plays and films.
BANSHIKI. The highest pitch produced by the fue in no
ˆ
. See also
MUSIC: NO
ˆ
.
BANZUKE. The woodblock printed bunraku and kabuki ‘‘programs’’
of the Edo period. They provided the play’s title, performers, and
character list, as well as illustrations of the play or performers. In
bunraku, the relative thickness of the Chinese characters and their
placement on the program indicated the rank and quality of the per-
formers. This practice came into use in the early 17th century and
was not abandoned until 1957. The new Kokuritsu Bunraku Gekijo
ˆ
revived it, however, in 1984. Although banzuke include not only the
principal performers but even the names of the chief backstage per-
sonnel and managerial staff, it is not traditional to list the secondary
puppeteers, i.e., the hidarizukai and ashizukai. While the English
word ‘‘program’’ is used elsewhere in Japan, the Kamigata area still
uses banzuke.
A number of sp eci alize d banzuke emerged over the year s, ea ch
with its unique layout, illustrations, and information. They ranged
from a single sheet to actual pamphlets. These included, among other
terms, the kaomise banzuke (‘
‘face-showing production program’’),
tsuji
banzuke (‘‘street corner programs’’), mon banzuke (‘‘crest pro-
grams’’) aka yakuwari banzuke (‘‘role distribution programs’’), and
ehon banzuke (‘‘picture book programs’’). There were differences in
style over the years and in different cities, but the essential standards
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42 • BAREN
were established by the mid-18th century and remained in place into
the Meiji era. See also KO
ˆ
GYO
ˆ
.
BAREN. The decorative fringe of gold and silver, or red and white, that
hangs from the lower hem of yoten costumes in kabuki and bunraku
jidai mono. Among its wearers are the bandits in danmari and the
gochu
ˆ
shin soldier in ‘‘Moritsuna Jinya’’ (O
ˆ
mi Genji Senjin Yakata).
It is also part of the costume worn by footmen (yakko).
BATA-BATA. The repetitive beating of the tsuke to accentuate stylized
acting moments in kabuki plays and dances, as during scenes of
tachimawari and running, especially when characters come dashing
in on the hanamichi. See also BATAN; BATTARI.
BATAN. A kabuki technique of beating the tsuke to accentuate big
movements. There is either a double clap of equal loudness or the
first clap is less loud than the second. See also BATA-BATA; BAT-
TARI.
BATTARI. A triple beat of the tsuke in kabuki for accenting the up and
down movements of the head in a mie. See also BATA-BATA;
BATAN; BATTARI.
BAZURI CHO
ˆ
CHIN. The decorative ‘‘hanging paper lanterns’’ hung
above the sajiki seating in kabuki theatres. They are often adorned
with the actors’ names and mon. Typically hung before the stage
during the annual kaomise in old-time theatres, they are occasionally
seen even today.
BIN. The ‘‘sidelocks’’ on either side of a bunraku or kabuki wig, many
of which are named after their bin style. Bin hint
at
the nature of their
wearers, especially male roles in aragoto and classical jidai mono.
Among many examples are the spoke-like kuruma bin and the arrow-
feather-like yahazu bin. Wigs clas si fied by th eir s idel oc ks ar e bin
mono.
BIWA. A four-stringed, mandolin-like instrument popular in the middle
ages as the instrument used by blind narrator-musicians who recited
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BUKKAERI • 43
the Heike Monogatari. See also HEIKYOKU; LITERARY
SOURCES.
BO
ˆ
SHI. One of the four categories of headgear worn by characters in
all forms of traditional Japanese theatre. It is a ‘‘cap’’ of soft silk or
cloth. Those in no
ˆ
and kyo
ˆ
gen are similar to the caps called zukin
and typically have a crown and a connected piece that falls over the
sides of the face and back of the head. They are worn by priests,
nuns, and Chinese men. In kabuki, bo
ˆ
shi are worn mainly by certain
female kabuki characters as a decorative element to hide their hair
line. Originated in the early days of kabuki wig making, it suggests
the time that actors used it to adorn their pates after being legally
required to shave their forelocks. It also hid the unnatural hairlines
created by early wigs. A number of specialized types are used, such
as murasaki chirimen (‘‘purple silk’’) worn by Princess Taema in
Narukami; the birari bo
ˆ
shi (‘‘flapping cap’’) worn by Okaru in Act
VI of Kanadehon Chu
ˆ
shingura, which takes its name from its loose
side por tions; the baba bo
ˆ
shi (‘‘old lady’s cap’’), a plain-colored
example worn by old women and tied to the pony tail, etc. See also
COSTUMES: KABUKI;COSTUMES:KYO
ˆ
GEN;COSTUMES:
NO
ˆ
. EBOSHI; KASA; ZUKIN.
BUDO
ˆ
GOTO. ‘‘Mar tial ar ts’’ elements important in kabuki’s
tachiyaku performances, and especially in jitsugoto roles. It includes
such techniques as sword fighting and teoigoto. See also ONNA
BUDO
ˆ
; TACHIMAWARI.
BUKKAERI. A kabuki quick-change technique (hayagawari) created
by pulling out special threads of the costume’s upper half so that it
falls over the waist, displaying the inside lining covering the lower
half
of
the garment. The impression given is that the entire costume
has been changed. The actor usually poses in a mie with the rear
portion of the dropped fabric held up behind him by kurogo. The
convention is usually used when a disguised character reveals his true
identity or when someone undergoes a remarkable transformation.
Famous examples are seen in Narukami, Kamakura Sandaiki,and
Seki no To.
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44 • BUNGO BUSHI
BUNGO BUSHI. A jo
ˆ
ruri style founded around 1722 by a pupil of
Kyoto’s Miyakodayuˆ Itchuˆ I(see ITCHU
ˆ
BUSHI). In 1734, he settled
in Edo where, having had several earlier names, he became Miyako-
dayuˆ Bungo no jo
ˆ
. He was famous for his shinju
ˆ
mono, whose popu-
larity led to his being considered a corrupting influence because of
all the lovers’ suicides and elopements they inspired. Bungo bushi
was banned in 1739, bringing it to an end. Bungo no jo
ˆ
was forced
to drop the honorific ‘‘no jo
ˆ
,’’ and is believed to have died in 1740.
Some say powerful men in the army, who favored the rival kato
ˆ
bushi, killed the style. The term came to be used for other jo
ˆ
ruri
styles, like tokiwazu, tomimoto,andkiyomoto. See also
CHANTERS.
BUNKO
ˆ
DO
ˆ
(?–1741?). Bunraku playwright of the Takemoto-za
whose first pen name was Matsuda Wakichi. Known with Ki no
Kaion, Takeda Izumo I, and Namiki So
ˆ
suke (later Namiki Senryu
ˆ
)
as one of the ‘‘big four’’ (shitenno
ˆ
) playwrights who supported the
Takemoto-za after Chikamatsu Monzaemon’s death, he is remem-
bered for his jidai mono. He wrote both independent plays and col-
laborations (gassaku). At one point in the 1720s, he briefly left the
Takemoto-za to write for Kyoto kabuki but he returned in 1730, using
the single name Bunko
ˆ
do
ˆ
, although he is sometimes referred to as
Matsuda Bunko
ˆ
do
ˆ
. All but four of his subsequent plays were collabo-
rations. Among them are Kiichi Ho
ˆ
gen Sanryaku no Maki, Dan
no
Ura
Kabuto Gunki, Katakiuchi Tsuzure no Nishiki, Hirakana Seisu-
iki, Shin Usuyuki Monogatari, etc. See also PLAYWRIGHTS: BUN-
RAKU AND KABUKI.
BUNRAKU MAWASHI. The revolving platform set into the yuka stage
extension used in bunraku and kabuki (in plays borrowed from the
puppets) to bri ng chanters and shamisen players into view from
offstage. See also MAWARI BUTAI.
BUNRAKU-ZA. A famous Osaka puppet theatre that had several man-
ifestations from 1872 to 1962. Its history goes back to the turn of the
18th century when Uemura Bunrakuken came to Osaka from
Awaji and began his own theatre. After he died in 1810, his legacy
was handed on by his son-in-law, known as Umemura Bunrakuken
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BUNRAKU-ZA • 45
II or Jo
ˆ
rakuo
ˆ
, who operated what was called the Inari no Shibai on
the grounds of the Inari (or Nanba) Shrine in Osaka’s Bakuro
ˆ
-machi
from 1811.
The theatre survived many hardships, including the Tenpo
ˆ
reform
laws passed in 1842 that closed down shrine-ground theatres (miyaji
shibai). To survive, it moved to Osaka’s Kita no Horie district, and
then again to Do
ˆ
tonbori where it operated as the Wakatayu
ˆ
Shibai. In
1843, the rules were loosened. It moved again, to Kiyomizu-machi,
in 1854, with the great manager Bunrakuo
ˆ
, third descendant of Bun-
rakuken, in charge. In 1856, Bunrakuo
ˆ
, in concert with three great
performers—chanter Takemoto Nagatodayu
ˆ
III, shamisen player
Toyozawa Danpei II, and puppeteer Yoshida Tamazo
ˆ
I—revived
the Inari no Shibai, calling it the Bunraku Shibai. In 1872, they
moved to the newly developed Matsushima district in western Osaka,
where the government, wishing to concentrate all the performing arts
in a single area, offered rent-free premises for a five-year period. The
new theatre was the Bunraku-za and was one of a number of rival
puppet theatres. It opened with a to
ˆ
shi kyo
ˆ
gen version of Ehon Tai-
ko
ˆ
ki. The company, blessed by the talents of Takemoto Harutayu
ˆ
,
Danpei II, and Tamazo
ˆ
I, raised the art to new heights. Henceforth,
bunraku became a synonym for this form of puppet theatre.
Matsushima, however, proved out-of-the-way. Moreover, in 1884,
the Hikoroku-za, a strong new troupe, began producing at the Inari
Shrine, its company including Danpei II, who shifted his allegiance
there. The Bunraku-za countered by moving to the Goryo
ˆ
Shrine at
Hirano-machi in the Funaba district, where it was called the Goryo
ˆ
no Bunraku-za, and where it stayed until 1926. In 1909, financial
problems caused the fourth managerial descendant of Bunrakuken to
allow it to be acquired by the Sho
ˆ
chiku conglomerate. The 113-
member company included 38 chanters, 51 shamisen players, and 24
puppeteers.
A m ajor new policy was to rate performers not on hierarchical
position but on talent. The opposite had been true since 1797 when
the performers—threatened by the rise of outstanding amate urs—
created a professional organization composed of chanters, shamisen
players, and puppeteers. Sanctioned by the civil magistrate, it aimed
to foster friendships, protect living standards, and promote the pro-
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46 • BUNSHICHI
fession. This led to a regressive seniority system that eventually
called for an overhaul.
In 1926, the Goryo
ˆ
no Bunraku-za was destroyed by fire, with the
loss of priceless puppets, costumes, billboards, scripts, and other the-
atrical effects. Sho
ˆ
chiku kept the troupe alive at the Benten-za in
Do
ˆ
tonbori, the Minami-za in Kyoto, and elsewhere.
In 1930, Osaka’s old Chikamatsu-za was renovated as the Bun-
raku-za. The system of playing from 10 a.m. to 10 p.m. was aban-
doned in favor of having the show begin at 3 p.m. and end at 11 p.m.,
a radical change at the time. The to
ˆ
shi kyo
ˆ
gen system was replaced
by the midori system. The international and economic climate of the
1930s, though, threatened bunraku’s survival.
In March 1945, the Bunraku-za was bombed by American planes.
From February 1946 to January 1956, performances were held under
inferior conditions in the Yotsuhashi Bunraku-za. In 1948, labor
issues saw the company split into two factions, the Chinami-kai and
the Mitsuwa-kai. In January 1956, the new 1,000-seat Bunraku-za
opened on the site of the old Benten-za. Experimental productions
based on novels, kabuki dances, and foreign sources, like Madama
Butterfly (1956), Hamlet (1956), and La Traviata (1957), tried with-
out great success to inspire interest in the theatre.
In 1962, Sho
ˆ
chiku abandoned the company but it was rescued in
1963 by government subsidy under the aegis of a new organization,
the Bunraku Kyo
ˆ
kai (Bunraku Association)—in which the Chinami-
kai and Mitsuwa-kai were reunited. A year later, the Bunraku-za—to
the disappointment of many—changed its name to the Asahi-za,
which was its official home in Do
ˆ
tonbori, but in 1984 it was suc-
ceeded by the Kokuritsu Bunraku Gekijo
ˆ
, built outside of Do
ˆ
tonb-
ori, but within walking distance of it.
BUNSHICHI. Puppet head for leading men in jidai mono, such as
Mitsuhide in Ehon Taiko
ˆ
ki and Matsuo
ˆ
maru in ‘‘Terakoya’’ (Sugaw-
ara Denju Tenarai Kagami), and for sewa mono heroes such as Nure-
ginu in ‘‘Hiki Mado’’ (Futatsu Cho
ˆ
cho
ˆ
Kuruwa Nikki). It takes its
name from a character in an old play. The bunshichi is a robust-look-
ing, masculine face in which lurks a hint of suffering appropriate for
a character likely to experience tragedy. The color varies from white
to other hues, depending on the role. The ‘‘flapping eyebrows’’
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BUYO
ˆ
• 47
(aochi mayu) and lidded, ‘‘sleeping eyes’’ (nemuri me) move, even
producing a cross-eyed mie; those with movable mouths are called
kuchi-biraki bunshichi (‘‘mouth-opening bunshichi’’), and are used
for villains like Shihei in ‘‘Kuruma Biki’’ (Sugawara Denju Tenarai
Kagami). Worn with different wigs, it can change its appearance rad-
ically.
Bunshichi is also a name of a kabuki tachimawari technique.
BUTSUDAN-GAESHI. ‘‘Buddhist altar change,’’ a kabuki trick device
seen in To
ˆ
kaido
ˆ
Yotsuya Kaidan consisting of a large wheel hidden
behind a Buddhist altar on the rear wall of an interior set. It allows
an actor playing a ghost to disappear or appear through the wall. See
also KEREN.
BUYO
ˆ
. Also nihon buyo
ˆ
, nichibu, and kabuki buyo
ˆ
, kabuki ‘‘dance’’ in
general as opposed to specific types of kabuki dance. It originated in
folk-religious dances, such as nenbutsu odori, belonging to the
furyu
ˆ
tradition popular during the Muromachi period. It began to
develop during the Okuni kabuki (see IZUMO NO OKUNI; ONNA
KABUKI) era early in the 17th century, in corp orat ing the compo-
nents of mai, odori ,andfuri. A major addition arrived with the
michiyuki, borrowed from bunraku dance scenes (keigoto). Kabuki
dance was perfected by onnagata from the late 17th through mid-
18th centuries, with performers like Nakamura Tomiju
ˆ
ro
ˆ
I and
Segawa Kikunojo
ˆ
I performing such nagauta works as Musume
Do
ˆ
jo
ˆ
-ji and Sagi
Musume
. In the last quarter of the 18th century,
tachiyaku became popular, especially with the appearance of Naka-
mura Nakazo
ˆ
I in works like Seki no To.
At this time, there also entered the great innovation of henge
mono, showcases for dancing vers atil ity as d emon stra ted b y sta rs
like Nakamura Utaemon III and IV and Bando
ˆ
Mitsugoro
ˆ
III.It
was the custom for every play to have one or two dance scenes inter-
polated into it, in addition to a dance play performed between the two
halves of a kabuki program.
The music accompanying kabuki dance is based on the shamisen
and today includes mainly nagauta, tokiwazu, and kiyomoto. Some-
times, gidayu
ˆ
bushi accompanies dance performance.
In the mid-19th century, there arose the kind of no
ˆ
play adapta-
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48 • BUYO
ˆ
NO RYU
ˆ
HA
tions called matsubame mono, to which kyo
ˆ
gen plays were similarly
adapted. Other new ideas came from reformists like Tsubouchi
Sho
ˆ
yo
ˆ
, who innovated shin buyo
ˆ
(‘‘New Dance’’) works such as
Shinkyoku Urashima and Onatsu Kyo
ˆ
ran. These, superficially resem-
bling traditional dance, provided nontraditional themes and subjects,
introducing psychological realism and dramatic situations, as well as
the occasional Western musical instrument.
During the mid-20th century, stars such as Onoe Kikugoro
ˆ
VI,
Bando
ˆ
Mitsugoro
ˆ
VII, Ichikawa Ennosuke II, and choreographers
created many new works, and non-kabuki dance masters (including
geisha) created experimental shin buyo
ˆ
dance groups. Most of this
activity was seen in recitals, but Ennosuke II organized a company
that sought to bring his experimental work to kabuki. Dancers of
nihon buyo
ˆ
,whetherkabuki actors or not, belong to the various
schools of dance (buyo
ˆ
no ryu
ˆ
ha), some with close theatrical con-
nections. See also MAI; ODORI; SHOSAGOTO.
BUYO
ˆ
NO RYU
ˆ
HA. The numerous ‘‘schools’’ or styles of traditional
Japanese dance (buyo
ˆ
) and th eir bra nche s bot h ins ide and outs ide
kabuki, much of it catering to a large amateur population made up
predominantly of female dancers. Some schools are headed (iemoto
or so
ˆ
ke)bykabuki actors, who use a special dance name. Thus,
kabuki actor Onoe Sho
ˆ
roku II was Fujima Kanemon IV as the
iemoto of the Fujima ryu
ˆ
. Among other major kabuki-related ryu
ˆ
ha
are
t
he Nishikawa ryu
ˆ
(see NISHIKAWA SENZO
ˆ
), the Hanayagi
ryu
ˆ
, the Bando
ˆ
ryu
ˆ
, the Ichikawa ryu
ˆ
, and the Nakamura ryu
ˆ
. See
also FURITSUKE.
C
CHAKUTO
ˆ
. ‘‘Arrival,’’ the kabuki geza music played by flute and
drums a half hour before curtain time. The music ends when the kyo
ˆ
-
genkata strikes the tsuke twice.
CHAKUTO
ˆ
BAN. The wooden ‘‘arrival board’’ located near the back-
stage (gakuya) entrance and ser ving as a ‘‘sign-in sheet.’’ The
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CHANTERS • 49
actors’ names are written next to peg holes. They place a peg in the
appropriate hole to denote their presence.
CHANTERS. The chanters of bunraku and kabuki gidayu
ˆ
bushi are
known as tayu
ˆ
, one of whose meanings implies ‘‘master.’’ The term
also applies to kabuki musicians of kiyomoto and tokiwazu but not
to those of nagauta. This entry is mainly about bunraku chanters.
Most chanters’ names use tayu
ˆ
(or dayu
ˆ
) as a suffix. Traditionally,
chanters have held the greatest prestige among bunraku artists.
Almost all bunraku troupe leaders (monshita) have been chanters.
Bunraku chanters are higher in the artistic hierarchy than those of
kabuki, where the requirements are not as taxing, although bunraku
chanters sometimes appear as guest artists in kabuki, mainly in lyri-
cal dance plays with little or no dialogue.
Chanters must have powerfully trained voices in order to express
the totality of gidayu
ˆ
bushi’s musical and emotional values; they per-
form all the dialogue regardless of the respective characters’ ages,
genders, or temperaments. They also chant the descriptive passages.
Chanters roll into view on the bunraku mawashi built into the
yuka at stage left. Depending on the play, kabuki chanters perform
either on the yuka or from behind blinds (misu) on an upper level at
stage right. (In the 18th century, bunraku chanters sometimes did so
as well.) (See CHOBO; DEGATARI;STAGE:BUNRAKU.) They
kneel before their kendai lecterns, their erect posture assisted by the
placement beneath them of a small pillow on a wooden stand (shiris-
hiki). Their knees rest on thick cushions, raising them even higher
than their shamisen player partners, who use only a single cushion.
They and their par tners wear identical kamishimo (see also
HAKAMA; KATAGINU; OTOSHI),
a custom said to have originated
in
the granting of honorary samurai rank to Takemoto Gidayu
ˆ
I. (In
18th-century performances, they also stripped to the waist for sum-
mertime performances.) When his name is spoken during the per-
formance’s to
ˆ
zai announcement, the chanter raises his script
reverently to his forehead and bows. At the conclusion of his per-
formance, he again raises the script as the revolve whisks him out of
sight.
As he chants, the chanter leans over his lectern, gripping it and
sometimes pounding on it, his veins bulging and his face aflame with
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50 • CHARIBA
passion and perspiration as he moves from role to role, altering his
voice from basso to falsetto to express rhythmically each character’s
thoughts and dialogue, their laughter and their wailing, while also
reciting the narrative descriptions. According to C. Andrew Gerstle,
‘‘a chanter moves between and among a relatively realistic declama-
tory ‘spoken’ style with no musical accompaniment, and various lev-
els of ‘ song’ style accompanied by the shamisen’’ (2001, 17).
Although most scenes require only one chanter to recite all the char-
acters’ lines, occasionally multiple chanters and shamisen players
(kakeai) appear.
CHARIBA. Comic-relief scenes in bunraku and kabuki. The word may
derive from a scene in Wada Kassen Onna Maizuru (1736) in which
the comic footman Ajari incited laughter by his pretense at being
wounded. Its popularity presumably led to Ajari’s name being dis-
torted to chari so that comic scenes were chariba (‘‘chari scenes’’)
and comic characters chari. Chanters specializing in comedy are
charigatari; comic puppet heads are charikubi. Some think that the
word comes from chakasu (‘‘to make fun of’’) or zareru (‘‘to have
fun’’). Examples are ‘‘Warai Gusuri’’ (Sho
ˆ
Utsushi Asagao Nikki) and
‘‘Terakoya’’ (Sugawara Denju Tenarai Kagami).
CHASEN. A kabuki wig worn by male characters and known for its
topknot (mage), which resembles a tea whisk (chasen). It comes in a
wide variety of styles and is used for many roles.
CHIHAYA. A striking-looking sleeveless coat worn over simulated
chain armor by military messengers (gochu
ˆ
shin) and other samurai
in kabuki jidai mono. See also COSTUMES: KABUKI.
CHIKAMATSU HANJI (1725–1783). Bunraku playwright,sonof
the Confucian scholar Hozumi Ikan, whose Naniwa Miyqge (A Pres-
ent from Osaka) records the ideas of Chikamatsu Monzaemon.A
devotee of Chikamatsu’s, the playwright named himself Chikamatsu
Hanji. He gained renown at the Takemoto-za as the last great bun-
raku dramatist. His first major contribution came in 1762, with his
collaboration (gassaku), O
ˆ
shu
ˆ
Adachigahara.
M
any consider Imo-
seyama Onna Teikin his greatest accomplishment. With the demise
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