Leiter S.L. Historical Dictionary of Japanese Traditional Theatre
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COSTUMES: KYO
ˆ
GEN • 61
totally fantastical. Most costumes reflect st yles curren t dur ing t he
Edo period, even those in plays set in earlier times, but, regardless of
period, effect always counts more than accuracy. Nobles and samurai
wear such formal garments as the sokutai, uchikake, hitatare, kari-
ginu, kamishimo, suo
ˆ
, and ju
ˆ
nihitoe, while townsmen, peasants, and
professionals wear their ordinary clothes. One can instantly tell a per-
son’s profession from their kimono and obi, as well as many things
about their characters. There are also many fanciful costumes, such
as the yoten, the omigoromo, the atsuwata, the do
ˆ
maru, and the chi-
haya, stylized garments worn only on stage. Aragoto costumes are
the most exaggerated and imaginative. Some costumes resemble
those of the no
ˆ
plays that inspired them, or have been specially con-
structed for quick-change (hayagawari) methods like hikinuki and
bukkaeri, created to show a character’s inner nature. Among other
highly conventionalized costumes are the kataire and kamiko.
The standardization of costumes, kabuki wigs, and makeup is a
form of kata. The actors themselves were often responsible for their
costumes, taking cognizance of anything that would enhance their
appearance or express their character. Costumes had a powerful
influence on contemporary fashions. See also COSTUMES: BUN-
RAKU; COSTUMES: NO
ˆ
.
COSTUMES: KYO
ˆ
GEN. Kyo
ˆ
gen costumes (sho
ˆ
zoku) resemble those
of no
ˆ
, but are beautiful in a less overt way, most being much plainer,
being made of less expensive fabrics, like flax. Tabi are brown or
yellow, not white. Kyo
ˆ
gen garments, although refined and stylized,
generally
r
epresent the clothing of ever yday people of the Muro-
machi period rather than nobles or courtiers.
The standardization of the costumes allows spectators to tell a lot
about their wearers, such as occupation or social cl ass. Indivi dual
traits are played down in order to emphasize the type to which the
character belongs. When necessary to individualize someone, he may
be given a beard or some other sign of difference, but the essential
costume is the same as what others of the type would wear. However,
patterns and colors offer considerable variety within the relatively
narrow range of conventionalized costumes. Other differences can be
established by whether a character does or does not wear a hat. Thus,
masters go hatless in sho
ˆ
myo
ˆ
kyo
ˆ
gen, wear an eboshi in daimyo
ˆ
kyo
ˆ
-
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62 • COSTUMES: KYO
ˆ
GEN
gen, but wear a different kind of hat in Suehirogari,akaho
ˆ
mono
play of the waki kyo
ˆ
gen group (see PLAY CATEGORIES: KYO
ˆ
-
GEN). Around 30 costume divisions have been designated, indicat-
ing class, occupation, age, sex, and situation. Many kyo
ˆ
gen costume
elements are the same as no
ˆ
’s and use the same terms.
One can distinguish rank by noting that daimyo
ˆ
wear the naga-
kamishimo (kamishimo with trailing hakama), the hora-eboshi cap,
the suo
ˆ
-kamishimo (see KAMISHIMO; SUO
ˆ
), and a short sword.
Masters wear the nagakamishimo and a shor t sword. Ser vants (as
well as peasants and other ordinary persons) wear the kataginu and,
in contrast to th e tra ilin g hakama (nagabakama)oftheirmasters,
wear ankle-length divided trousers (kyo
ˆ
genbakama). The latter, as
seen on the ser vant Taro
ˆ
-kaja, is the theatricalized version of the
common man’s costume. The patterns dyed on the backs of their
kataginu are of mundane items such as toys, fruits, rabbits, gar-
goyles, and food, made visible by business requiring the actors to
turn their b acks to the audience. Men’s outer robes are generally
bound with a sash (koshiobi or sekitai) whose ends come together at
the front of the waist and hang down in a stiff panel of about eight
inches, with three mon lined up one above the other.
Hakama gathered at the ankles in the kukuribakama style help
identify specific kinds of characters, such as officials, bandits, farm-
ers, travelers, demons, ghosts, and goblins, while the manner of wear-
ing a variety of cloth caps (zukin) hints at specific kinds of priests,
such as abbots, mountain ascetics, traveling priests, novice priests,
and so on. See also HEADGEAR.
Blind masseurs differ from pri ests by th eir walking sticks . And
characters in particular situations, such as farmers going to pay their
taxes, or bridegrooms going to meet their new in-laws wear items
that identify their purposes. Unmasked females wear a bright kimono
tied
with
a narrow sash at the waist, their heads covered with a white
turban (binan; also binan bo
ˆ
shi and binan kazura) with strips of cloth
hanging down on either side of the face to the sash, where the actor
grips them. They are considered more realistic than the masked
females of no
ˆ
. See also WIGS: KYO
ˆ
GEN AND NO
ˆ
.
Old people (who wear kyo
ˆ
gen masks) have their own distinct look,
including the use of a walking stick. Animals, such as monkeys,
foxes, cows, horses, etc., who use rather realistic masks, wear full
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COSTUMES: NO
ˆ
• 63
body costumes (nuigurumi or monpa), some of them furry. The
actor is likely to go about on all fours, and even make animals
noises, although usually more to suggest than realistically imitate the
originals. The hands are gloved or exposed.
Demons wear a cloth cap to which long red hair is attached, a Chi-
nese crown, an atsuita or striped noshime robe, kukuribakama,ora
kariginu and hangiri combination, and they carry a bamboo stick.
The spirits of cicadas, octopuses, mosquitoes, and the like wear the
mizugoromo and carry a bamboo staff. See also COSTUMES; NO
ˆ
.
COSTUMES: NO
ˆ
. The costumes of no
ˆ
are called sho
ˆ
zoku rather than
isho
ˆ
, which is used in bunraku and kabuki. They are exceptionally
beautiful and well made, many being of museum quality. Their gor-
geous silk fabrics, colors, weaves, and patterns are major visual com-
ponents on the austere no
ˆ
stage. They share with no
ˆ
masks the
aesthetic principle of yu
ˆ
gen. Often, the patterns have seasonal conno-
tations. Colors may also symbolize par ticular things, such as age,
rank, and status. And patterns can also send signals, most noticeably
the serpent’s scales worn by the shite in Aoi no Ue and Do
ˆ
jo
ˆ
-ji before
they reveal their monstrous natures.
Although aesthetically heightened, and made according to strict
conventions, no
ˆ
costumes reflect the general appearance of Japan
from the 14th through 16th centuries. Many no
ˆ
costumes from the
past are of ver y high quality because they were given as gifts by
wealthy sponsors—especially daimyo
ˆ
of the Edo period. Today’s
costumes sometimes date from that period, when garments that had
once resembled actual clothing began to be made specifically for the
actors and they became increasingly theatricalized in color, line, and
fabric; a striking difference was the great width of no
ˆ
sleeves com-
pared to those of everyday life.
A knowledgeable theatregoer can usually tell a character’s class,
gender, and occupation from the costume elements. Even lowly peas-
ants wear lovely costumes. Although convention dictates the ele-
ments worn, the actor has
some
freedom of choice with regard to
pattern and color within conventions appropriate to a role. In fact, the
same combination of elements will probably not appear twice in an
actor’s different performances of the same r ole. Actors must also
think about what other actors are wearing in the play or program. If
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64 • COSTUMES: NO
ˆ
two characters, such as an old man and a priest, both wear the mizu-
goromo, these must not have similar colors. See IROIRI; IRONASHI.
Technically, anything an actor wears is considered a costume ele-
ment, including masks. The seven groupings are:
• wigs (kahata).
• headgear (kaburi mono): includes eboshi, tengan, and zukin.
• over-robes or ‘‘jackets’’ (uwagi): includes cho
ˆ
ken, happi, kari-
ginu, maiginu, mizugoromo, and no
ˆ
shi.
• kitsuke: includes noshime, nuihaku, and surihaku.
• combined over-robe/basic robes (uwagi/kitsuke): includes atsu-
ita and karaori.
• hakama: includes hangiri, nagabakama, o
ˆ
guchi, and sashinuki.
• Small things (komono): includes collars (eri), rain jackets (koshi
mino), obi, hachimaki, kazura obi, long swords, etc. The colors
of most of these make an important contribution to the overall
ensemble and must be chosen with great care. The collar, which
can be in one or two layers, is especially important, although
only its edge is visible, for it communicates the character’s
social rank. See also HAKU; TABI.
A principal way of grouping all no
ˆ
costumes
is
according to their
sleeve length, the shorter and narrower sleeves being kosode and the
longer, wider sleeves o
ˆ
sode. The main examples of the kosode are
the karaori, surihaku, atsuita, and nuihaku, while those considered
o
ˆ
sode are the cho
ˆ
ken, kariginu, maiginu, happi, and mizugoromo.
The shape, bulk, and draping of the costumes play an extremely
important in the actors’ movements. Movement may be restricted or
freed by the nature of the costume. The sleeves must be manipulated
just so, and the body moving through space or sitting still must create
a very particular visual impression.
The jiutaikata, hayashikata,andko
ˆ
ken wear a combination of
montsuki (see JIUTAI) and hakama, which formed everyday wear in
premodern Japan. These garments are also worn during the various
kinds of concert recitals of no
ˆ
so the movements of the actor’s body
can be made even clearer than when full costume is worn. Certain
movements that appear in fully costumed no
ˆ
, where the shape of the
costume or the expressive power of the wig and mask are put to full
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DAIMON • 65
use, may not appear in the concert version of the same piece. See
also COSTUMES: KYO
ˆ
GEN.
D
DAIGANE. In kabuki, the copper base that is precisely fitted to the
actor’s head to create a foundation for the kabuki wig.Toitare
attached bin, tabo, and mage. Those for male roles are ko
ˆ
ra mono
and include the crown portion; non-ko
ˆ
ra mono include only the side
and back pieces. For the latter, a habutae cloth covers the crown.
There is a wide variety of daigane for the many kinds of wigs, male
and female, and they are taken very seriously because the hairline
they produce is crucial to the actor’s appearance in the role.
DAIJIN BASHIRA. The ‘‘minister’s pillar,’’ found on both no
ˆ
stages
(see WAKI BASHIRA) and kabuki stages. For kabuki, whose stage
originally was based on no
ˆ
architecture, there are two daijin bashira,
one being the kami daijin bashira (‘‘stage left minister’s pillar’’) sup-
porting the floor of the raised chobo area and the other the shimo
daijin bashira (‘‘stage right minister’s pillar’’) incorporated into the
structure of the geza.
DAIJO. The ‘‘grand prologue,’’ which generally serves as the first
scene in a five-act bunraku-originated jidai mono. During bunraku’s
golden age in the 17th centur y, it was performed by the leading
chanter but now it is considered a training scene and is given on an
alternating basis to young shamisen players and chanters. (See also
DRAMATIC STRUCTURE: BUNRAKU AND KABUKI.) The best
example begins Kanadehon Chu
ˆ
shingura, whose kabuki version is
performed in bunraku style.
DAIKON
. ‘
‘Radish,’’ an e pith et th at kabuki audi ence s use d t o sho ut
when dissatisfied by an actor’s performance. See also KAKEGOE.
DAIMON. A wide-sleeved ceremonial over-robe, worn on special occa-
sions by high-ranking Edo-period samurai such as daimyo
ˆ
. Family
daimon (‘‘large crests’’; see MON) are dyed onto the fabric at five
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66 • DAISHO
ˆ
CHU
ˆ
NO MAI
conventional places, with two more dyed on the trailing hakama
(nagabakama) worn with it. The actor also wears a high-crowned
eboshi. The male characters in the daijo of Kanadehon Chu
ˆ
shingura
wear this robe. See also COSTUMES: BUNRAKU;COSTUMES:
KABUKI.
DAISHO
ˆ
CHU
ˆ
NO MAI. ‘‘Large and small drum medium dance,’’ a
relatively subdued mai dance in no
ˆ
by living persons in genzai mono,
the feeling varying from role to role. See also DAISHO
ˆ
CHU
ˆ
NO
MAI MONO; MAIGOTO; NIBANME MONO.
DAISHO
ˆ
CHU
ˆ
NO MAI MONO. A subdivision of the no
ˆ
sanbanme
mono (‘‘third-group plays’’) category containing four (or five) plays
about women containing a daisho
ˆ
chu
ˆ
no mai dance w ith some
moments of relative dramatic realism, making several a bit closer to
yobanme mono (‘‘fourth-group plays’’). The Arabic numerals refer
to other groups in which these plays sometimes are included: Matsu-
kaze (4), So
ˆ
shi Arai Komachi (1), about young women; Gio
ˆ
(also
Ninin Gio
ˆ
) (4) and Yuya, about courtesans. Another courtesan play,
Yoshino Shizuka, is sometimes placed in this grouping. Two plays
from the nibanme mono (‘‘second-group plays’’) category, Atsumori
and Ikuta no Atsumori, may also be considered daisho
ˆ
chu
ˆ
no mai
mono. See also DAISHO
ˆ
JO NO MAI MONO; IROE
MONO
; MAI-
NASHI MONO; TAIKO CHU
ˆ
NO MAI MONO; TAIKO JO NO MAI
MONO.
DAISHO
ˆ
JO NO MAI. ‘‘Large and small drum quiet dance,’’ long,
extremely refined, quiescent, three-section mai in no
ˆ
performed by a
beautiful woman in sanbanme mono and redolent of yu
ˆ
gen. See also
DAISHO
ˆ
JO NO MAI MONO; MAIGOTO.
DAISHO
ˆ
JO NO MAI MONO. ‘‘Large and small drum quiet dance
plays,’’ a subdivision of the sanbanme mono (‘‘third-group plays’’)
categor y of no
ˆ
plays, mainly about women, containing 22 plays
whose yu
ˆ
gen is so profound that they are the ideal examples of the
categor y. Each play presents a daisho
ˆ
jo no mai dance. Young
women are featured in Izutsu, Uneme, Sumiyoshi Mo
ˆ
de (4), Senju,
To
ˆ
boku, Nonomiya, Hajitomi, Yugao, and Yo
ˆ
kihi; courtesans are the
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DAN-KIKU-SA • 67
focus of Eguchi, Futari Shizuka, Hotoke no Hara, Yoshino Shizuka
(4); nature spirits dominate Teika (4), Basho
ˆ
, Sumizome-Zakura (4),
and Yuki (4); old ladies are central to O
ˆ
mu Komachi (4), Sekidera
Komachi, Minobu, and Higaki. The Arabic numerals indicate other
groups in which these plays sometimes are included. See also DAI
CHU
ˆ
NO MAI MONO; IROE MONO; MAINASHI MONO; TAIKO
CHU
ˆ
NO MAI MONO; TAIKO JO NO MAI MONO.
DAISHO
ˆ
MONO. ‘‘Large and small drum pieces,’’ mai dances in no
ˆ
employing the fue, kotsuzumi and o
ˆ
tsuzumi. See also MAIGOTO.
DAN. A ‘‘section’’ or scene of a no
ˆ
play, which normally has five in a
go-dan ‘‘five-scene’’ structure. Also, an act or scene of a bunraku or
kabuki play. Jidai mono typically have five dan, while sewa mono
have three. See also DAN MONO; JO-HA-KYU
ˆ
; MAKI; YO
ˆ
KYOKU.
DANDARAMAKU. Also danmaku, a large curtain with wide red and
white horizontal stripes seen in certain kabuki shosagoto, like
Musume
Do
ˆ
jo
ˆ
-ji,
where it forms a temporar y background as the
music and lyrics introduce the story. It then drops quickly, revealing
the vivid scenery behind it. See also MAKU; SCENERY.
DANGIRI. Also dangire, the ‘‘act ending’’ of a bunraku or kabuki act
in which the simultaneity of timing between chanted narrative and
stage action diminishes and the narrative reviews the events that have
transpired. Inobe observes: ‘‘The dangiri is a complex musical com-
position through which the emotional catharsis is softened and con-
cluded majestically. . . .’’ (trans. by Gerstle in Gerstle, Inobe, and
Malm, 1990, 37). In ‘‘Kumagai Jinya’’ (Ichinotani Futaba Gunki),
the dangiri, written in shichigocho
ˆ
meter, is performed solo by the
bunraku chanter, but in kabuki it is performed as a watari zerifu
sequence spoken by Midaroku, Fuji, Sagami, Gunji, and Kumagai.
Dangiri also refers to the ending of a shosagoto performed t o
nagauta music, in which all the instruments perform and the dancers
strike their final pose. See also GEZA.
DAN-KIKU-SA. An acronym made up of the first characters in the
names of the three greatest Meiji period actors, Ichikawa Danju
ˆ
ro
ˆ
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68 • DANMARI
IX, Onoe Kikugoro
ˆ
V, and Ichikawa Sadanji I, who costarred in a
number of plays and who established the basis of modern kabuki.
DANMARI. A kabuki ‘‘pantomime’’ involving a disparate number of
colorful characters who struggle with one another in the dark to
obtain some valuable item. Such scenes were created to display the
new members of an acting company at the kaomise production.
• jidai danmari: These ‘‘history play pantomimes’’ take place past
midnight in a deserted location near a shrine where representa-
tive types wearing intriguing costumes and makeup appear,
including a bandit chief, a mountain ascetic, a young lord, a
female thief, a chief retainer, a lady-in-waiting, a princess, a pil-
grim, etc. They move in slow motion to haunting offstage music
as they seek to capture some precious object. The scene is high-
lighted by dynamic mie and a roppo
ˆ
exit as well as a colorful
final tableau. See also JIDAI MONO.
• sewa danmari: Unlike the jidai danmari, these ‘‘domestic play
pantomimes’’ are not performed as independent scenes. They are
fairly realistic and their action is closely related to the plays in
which they appear. Sewa danmari are performed near a river or
the seaside after a murder, a fight, or a mysterious occurrence.
In many sewa danmari, somebody picks up an item like a
tobacco pouch, hair ornament, or hand towel that becomes the
hodoki (‘‘clue’’) with which the myster y is eventually solved
later in the play. This is called danmari hodoki (‘‘pantomime
clue’’). See also SEWA MONO.
DAN MONO. A one-act kabuki shosagoto, having a self-contained plot
and using nagauta, tokiwazu,orkiyomoto music. An example is
Kanjincho
ˆ
. The opposite is a ha mono (‘‘partial piece’’), like Echigo
Jishi, which lacks a true plot. Dan mono may also refer to a michi-
yuki or keigoto highlight passage taken from a bunraku play and per-
formed independently.
In no
ˆ
,adan is a section of a play capable of being selected for
concert recitals like dokugin, shimai, itcho
ˆ
,etc.Theyaredance
(mai)
and
chant (utai) sho
ˆ
dan modules drawn from yobanme mono
and gobanme mono.
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DEHA • 69
DARAMAKU. Also honmaku and maku, kabuki’s standard method for
beating the hyo
ˆ
shigi at the end of an act. It begins with a gentle,
‘‘chon, chon, chon’’ and, as the curtain closes, the pace increases.
DARASUKE. Male puppet head used for young, obstinate warriors in
jidai mono, like Sukune Taro
ˆ
in Sugawara Denju Tenarai Kagami,
or mean-spirited sewa mono townsmen like Hachiemon in Meido no
Hikyaku. He has sharp, narrow eyes, painted-on eyebrows, and a
grim, slightly open, turned down mouth. He takes his name from a
character in a 1751 play.
DATE ERI. ‘‘Fashionable collar,’’ a kabuki costume element consist-
ing of a cotton-padded collar whose pattern resembles a horse’s reins
or a spiraling rope. It is worn by footmen (yakko)inbunraku and
kabuki jidai mono and shosagoto. An example is Chienai in ‘‘Kiku-
batake’’ (Kiichi Ho
ˆ
gen Sanryaku no Maki).
DATE SAGARI. ‘‘Fashionable apron,’’ a kabuki costume element worn
by footmen (yakko)injidai mono and shosagoto. The actor ties it
around the waist, where it hangs down in front like an apron. It has
a gold and silver design with baren hanging from its bottom.
DEBAYASHI. ‘‘Musicians’ appearance,’’ also debayashigata,the
onstage appearance of formally dressed nagauta musicians in kabuki
to provide the accompaniment for shosagoto. See also DEGATARI;
GEZA; HINADAN.
DEGATARI. ‘‘Chanters’ appearance,’’ the onstage appearance of kiyo-
moto, tomimoto,ortokiwazu musicians, or the gidayu
ˆ
bushi chanter
and shamisen
player to accompany a kabuki pla
y or dance. See also
CHOBO; DEBAYASHI.
DEHA. Also deba or de,akabuki acting highlight done at shichisan
during an ‘‘entrance’’ on the hanamichi. Famous examples include
Gongoro
ˆ
’s tsurane in Shibaraku and Sukeroku’s umbrella sequence
in Sukeroku Yukari no Edo Zakura. Deba also is the name of the
entrance music and a type o f geza music employing the taiko,
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70 • DENDEN MONO
o
ˆ
daiko, and no
ˆ
flute, as heard in ‘‘Yukashita’’ (Meiboku Sendai Hagi)
when Nikki Danjo
ˆ
makes his magical exit.
In no
ˆ
, deha is music played for the entry of the shite or tsure in
the play’s second half (nochiba). It is often used for gods, demons,
ghosts, spirits, and angels, but not for humans.
DENDEN MONO. Kabuki plays adapted from bunraku, a term that
comes from the ‘‘denden’’ sound of the plectrum striking the skin
of the bunraku shamisen. See also GIDAYU
ˆ
KYO
ˆ
GEN; MARUHON
MONO.
DENGAKU. ‘‘Field music,’’ also dengaku no no
ˆ
, a medieval dance
drama that grew out of ritualistic agricultural dances created to enlist
the help of the rice-field spirits in the rice-planting season. It evolved
into a form of musical drama that predated sarugaku, on which it
had great influence, and which it not only rivaled but outpaced in
popularity i n the 14th century unt il th e arr ival of Kan’ami Kiyo-
tsugu. It was so popular at one time that the term ‘‘dengaku disease’’
came into use. The dancers’ movements were accompanied by a
drum (yo
ˆ
ko), flute (fue), and a distinctive bamboo percussion instru-
ment called binsasara. Dengaku sur vives today only in vestigial
form.
DENGAKUGAESHI. ‘‘Dengaku change,’’ a kabuki scenic technique—
originated in bunraku in 1789—whereby flats are built with a shaft
through their centers, either ver tically or horizontally, so that an
instant scenic change can be made by flipping them on their axis to
make the reverse side visible. It gets its name from its resemblance
to a bean curd eaten on a skewer and called dengaku. See also SCEN-
ERY.
DEZUKAI. The practice of ‘‘visible manipulation’’ seen in bunraku’s
more theatricalized scenes when the omozukai, and sometimes the
other two puppeteers, appears dressed in formal kimono (white from
June through August, black or navy otherwise) and hakama,
with
his
face visible. Kataginu may or not be worn, depending on the scene.
In the standard convention all puppeteers appear in black, ankle-
length garments (kurogo ) tied with a bow at the hip, their faces
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