Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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ENNOSUKE JU

HACHIBAN • 81

not been much activity in writing new English-language plays for

this form. A small amount of activity in the writing of new kabuki

plays has occurred, as in James R. Brandon’s The Road to Kyoto,

staged at the University of Hawaii.

Leading the ﬁeld of English no

are Japan-based American Richard

Emmert, and Ueda Nagi, who has adapted several Shakespeare plays

for the form. American expatriate Don Kenny has been the creative

force behind the English-language kyo

gen performances of the

Kenny and Ogawa Players, while Yuriko Doi’s Theater of Yuˆgen, in

San Francisco, frequently produces English-language no

and kyo

gen.

Most such ventures are found on American college campuses, with

professors like James R. Brandon, Leonard Pronko, Andrew Tsubaki,

and Sho

Sato known for their productions of various genres; their

kabuki productions are perhaps their best known.

ENKIRI. The device of using a lovers’ ‘‘divorce’’ or ‘‘separation’’ as a

way of moving the plot of bunraku or kabuki sewa mono forward. It

came into fashion in the 1790s, when playwrights began introducing

situations in which, usually, a courtesan or geisha breaks off with

her lover, misguidedly thinking she is helping him. The lover often

becomes so enraged that he kills her. Then, a letter she wrote prior

to the divorce may come to light showing him how he misjudged her.

Her dramatic renunciation normally includes a public rebuke (aiso-

zukashi) in which the man loses face before others. Good examples

are in Ise Ondo Koi no Netaba, Godairiki Koi no Fu

jime, and Edo

Sodachi Omatsuri Sashichi.

ENNEN. A large-scale medieval performing art, using song and dance,

practiced at Buddist temples from the Heian through Muromachi

periods following memorial services. Sometimes called ennen no no

sarugaku actors took part in it and it became an important precursor

to the development of no

. Ennen is written with the characters for

‘‘extended life.’’ Ennen no mai (‘‘dance of longevity’’) is still seen at

certain temples, especially Motsu-ji in Iwate Prefecture, and there is

an ennen no mai performed by Benkei toward the end of the kabuki

play Kanjincho

ENNOSUKE JU

HACHIBAN. ‘‘Ennosuke’s Eighteen Best,’’ an ie no

gei play collection established by Ichikawa Ennosuke III in 1988

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82 • ENO JU

SHU

to represent 18 of his favorite works. They are Kinmon Gosan no

Kiri; Yoshitsune Senbon Zakura, Kinnozai Sarushima Dairi, Kagami-

yama Gonichi no Iwafuji, Nanso

Satomi Hakkenden, Ogasawara

Shorei no Okunote, Futago Sumidagawa, Kunshinbune Nami no

Uwajima, Haji Momiji Ase no Kaomise (or Date no Ju

yaku), Ju

nitoki

Chu

shingura, Shusse Taiko

ki, Hitori Tabi Goju

san Tsugi, Tenjiku

Tokubei Imayo

Banashi, Gohiiki Tsunagi Uma, Kikunoen Tsuki no

Shiranami, Yamato Takeru, and Ju

nihitoe Komachi Zakura.

ENO JU

SHU. An ie no gei play collection established in 1964 by Ichi-

kawa Ennosuke III to represent the 10 plays most closely associated

with Ennosuke II. They are Akutaro

, Kurozuka, Takano Monogurui,

Kokaji, Koma, Ninin Sanbaso

, Nomitori Otoko, Hanami Yakko, Yoi

Yakko, and ‘‘Yoshinoyama’’ (Yoshitsune Senbon Zakura).

FANS. Fans are among the most widely used properties in traditional

Japanese theatre. There is a wide range, each with its technical name,

differing in size, number of ribs, materials, and shape. Fans in gen-

eral

are o

; folding ones are shizumeori and chu

kei; and nonfolding,

round ones are uchiwa. Every character carries one, as do even the

musicians, ko

ken,andjiutai, who neatly place their closed shizu-

meori before them when preparing to perform. The fan is carried in

the hand, inserted at the kimono lapel, or thrust in the obi. Fans car-

ried by the musicians are smaller than those used by the actors per

se, as they don’t have to open. In the past, when everyone carried

them, the fan was a sign of status, occupation, or taste. Some fans’

paintings qualify them as artistic masterpieces. Courtesans normally

do not have fans, however, for it is considered rude for them to cool

themselves in front of the clients they are supposed to entertain; they

may, however, use an uchiwa in summer scenes to fan someone else.

Many fan-holding kata exist to accentuate movement by extending

the arm’s length, especially with large-sleeved kimono. To welcome

someone there is maneki o

gi (‘‘welcoming fan’’); to suggest sleeping

there is makura no o

gi (‘‘pillow fan’’); to stare with it into the sky is

kumo no o

gi (‘‘cloud fan’’), etc. Fans can represent numerous things

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FUE • 83

when properly manipulated, including props like swords, cups, bot-

tles, and arrows, or natural phenomena like wind, rain, the moon, and

waves.

FIFTH-GROUP PLAYS. See GOBANME MONO.

FIRST-GROUP PLAYS. See HATSUBANME MONO.

FOOTGEAR. Kyo

gen and no

characters wear only tabi socks on their

feet, but kabuki characters rely heavily on footgear (haki mono).

These include geta of various types, ﬂat straw sandals with thongs

(waraji and zo

ri), tabi, bearskin boots, and wide variety of other

shoes and sandals. There are also leg coverings of different kinds and

materials. See also COSTUMES: BUNRAKU;COSTUMES:

KABUKI; COSTUMES: KYO

GEN; COSTUMES: NO

FOURTH-GROUP PLAYS. See YOBANME MONO.

. A ‘‘style’’ of gidayu

bushi. It is based on the nature of the scene,

the period when the play was ﬁrst performed, the nature of the theatre

it was performed in, its original performers, the methods of important

performers who contributed to its traditions, and so on. During the

18th century, the two rival Osaka puppet theatres, the Toyotake-za

and the Takemoto-za were known for their different fu

, the former

called higashi fu

(‘‘eastern style’’) and the latter nishi fu

(‘‘western

style’’), the names derived from their respective positions in the

tonbori district. The nishi style meant ‘‘reserve, severity, intensity,

minor scale; and higashi . . . ﬂamboyance, brightness, major

scale. . . .’’ (Gerstle 1990, 29–30).

FUDO

NO MIE. A kabuki mie pose modeled after the fearsome Bud-

dhist deity Fudo

no Myo

o, who protects the gates of hell. As in stat-

ues of the god, the actor stands or sits erect, his sword held vertically

at his side. His other hand holds a Buddhist rosary and ﬂames sur-

round him. It is seen in Fudo

, Kanjincho

and N

arukami.

FUE. Also no

kan, the no

ﬂute. Its appearance and range resemble that

of the gagaku ﬂute (ryu

teki), although there are certain differences

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84 • FUE BASHIRA

between them. The no

kan is a transverse bamboo reed, about 15

inches long, with seven ﬁnger holes plus the mouth hole (utaguchi).

There are no holes on its opposite side. The lower half or so of the

ﬂute (the nodo or ‘‘throat’’) is constructed of one bamboo cylinder

inside the other, making it thicker than the part with the holes. This

structure is different from other Japanese ﬂutes and helps produce an

unusual range of sound. The ﬂute’s high-pitched wail announces the

start of each play. Its melody—the only one produced by a no

instru-

ment—can seem shrill and unearthly to the novice, but its unique

quality is responsible for much of a no

play’s atmosphere. Playing

the ﬂute in congruent rhythm with the drums—as during dances

accompanied only by instruments—is awasebuki (‘‘congruent blow-

ing’’; see AWASEGOTO), while the noncongruent method—as when

the jiutai chants during the dance—is ashiraibuki (‘‘noncongruent

blowing’’). See also MUSIC: NO

FUE BASHIRA. The ‘‘ﬂute pillar,’’ the upstage pillar on the audience

right side of the no

stage, so called because it is close to where the

fue player sits. It bears a metal ring for use in hoisting and dropping

the bell used in Do

-ji.

FUJIMA RYU

. The ‘‘Fujima school’’ of kabuki dance (see BUYO

;

BUYO

NO RYU

HA), founded by choreographer (see FURITSUKE)

Fujima Kanbei I (?–1769). The most famous choreographer in the

line was Fujima Kanbei III (?–1821). His important dances include

Shiokumi and Sanbaso

. The line died out in 1878.

When Kanbei III temporarily became Kanju

I, he began a

Fujima branch, which, however, is counted from the appearance of

Fujima O

suke (1796–1840), who was adopted by Kanbei III and

took the name of Kanju

II in 1831. He created dances such as

Yasuna, Komori, Tomo Yakko, Sanja Matsuri, and Kasane. Women

dominated several generations of the line, weakening its theatrical

connections,

but

the theatre reclaimed the name with Kanjuˆro

VII in

1927, closely aligned with the Onoe Kikugoro

family.

Another impor tant branch was founded by Fujima Kanemon I

(1813–51). Kanemon III (1870–1945) was Matsumoto Ko

shiro

VII. His son, Onoe Sho

roku II, became Kanemon IV, and Sho

roku

II’s son, Onoe Tatsunosuke IV, became Kanemon V.

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FUKUCHI O

CHI (1841–1906) • 85

FUJIMOTO TOBUN (ﬂ. 1739–1756). An 18th-century Edo kabuki

playwright about whose life little is known. After working as an

actor under differing names, he appears to have turned to playwriting

in the late 1730s as Fujimoto Tobun. He is best remembered for a

play written for Ichikawa Danju

II to which he is believed to have

contributed in 1716; it evolved into the kabuki ju

hachiban classic

Sukeroku Yukari Edo no Zakura, for whose important 1749 revision

he is also said to have been responsible. He is credited with at least

65 plays, the only one still produced being the famous dance play,

Musume Do

-ji.

FUKE OYAMA. Puppet head usuallyusedformarriedwomen,

although the upper age limit is not clearly deﬁned. The greatest dif-

ference between it and the musume lies in its slightly downcast feel-

ing—in contrast to the musume’s mild feeling of uplift—thereby

suggesting the experience of age. Married women typically have their

eyebrows shaved, suggested by a faint bluish trace. In contrast to the

musume’s white teeth, those of the fuke oyama are blackened, the

custom for married women. The eyes move and a kuchibari pin is

afﬁxed to the lip at the right. A variety of different wig styles allow

the status of the character to change from role to role. Roles include

Misao in Ehon Taiko

ki and Masaoka in Meiboku Sendai Hagi.

FUKEYAKU. A role-type (yakugara) signifying old people in both

jidai mono and sewa mono. It combines characters designated by the

oyajigata and kashagata (an old-woman type) categories. Most such

characters are good, sensible people. Examples include Wato

nai’s

mother in Kokusenya Kassen, Magoemon in ‘‘Ninokuchi Mura’’

(Meido no Hikyaku), and Mimyo

in O

mi Genji Senjin Yakata.

FUKIWA. A kabuki wig worn mainly by certain princess characters

(akahime)injidai mono. An example is Princess Yaegaki in Honcho

Niju

shiko

. Its round, oversized topk not (ma

ge)

has an orna mental

drum-like accessory embedded in it, and is further adorned with a

red bow and decorative strips of paper. Other decorative touches are

provided by silver plum blossoms and butterﬂies.

FUKUCHI O

CHI (1841–1906). Journalist, novelist, theatre manager,

and political ﬁgure who became a kabuki playwright after serving

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86 • FUKUMORI KYU

SUKE I (1767–1818)

as a shogunate translator/interpreter, living abroad in the late 1860s

and early 1870s, being politically active, and running a major Tokyo

newspaper. A theatrical reformer, he cofounded the Kabuki-za and

became its proprietor, lost his managerial power, but succeeded as a

dramatist, writing his ﬁrst play in 1889. Best known for adaptations

and translations, his 40 or so plays and dances include O

mori Hiko-

shichi, Suo

Otoshi, and Kagami Jishi.

FUKUMORI KYU

SUKE I (1767–1818). Edo-based kabuki play-

wright who began as an actor but switched to playwriting for the

Kiri-za. He and Tsuruya Nanboku IV were the chief playwrights

in Edo following the Kansei-period reforms. Fukumori and Nanboku

IV collaborated on plays like Ehon Gappo

ga Tsuji. Among his still

performed plays is Sono Kouta Yume no Yoshiwara.

FUKURO TSUKI. The pouch-like back-hair style of male kabuki wigs

worn by sewa mono townsmen. Its opposite is the abura tsuki. See

also TABO.

FUKUUCHI KIGAI (1728–1779). Edo bunraku playwright, famed

also as a popular writer, botanist, Confuc ian scholar, and master

of ‘‘Du tch’’ studies, among many other pursuits. He wrote under

several names but was best known as Hiraga G ennai, which is how

the worlds of literature and science remember him. He collabo-

rated on nine plays, his master piece being Shinrei Yaguchi no

Watashi. He died after being imprisoned for accidenta lly killing

someone.

FUNAZOKO. The ‘‘ship’s bottom,’’ a sunken portion of the bunraku

stage running horizontally from left to right and situated between the

upstage and mid-stage tesuri. Most of the action takes place either

here or behind the upstage tesuri (ichi no te). At both the right and

left side of the funazoko are entryways through agemaku.

FURI. ‘‘Gestures,’’ one of the three principal aspects of kabuki dance

(buyo

), the others being mai and odori, with which it sometimes is

mingled. Neither mai nor odori generally bear any concrete meaning

(unlike mai in no

while furi points

to the more representational

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FUSHIGOTO • 87

(monomane) and dramatic moments in which laughing, crying,

dressing, sewing, reading, running, walking, anger, etc., are shown

in conjunction with the sung lyrics. Often, properties, like fans and

tenugui are used, Dance plays that tell stories are furigoto or shosa-

goto. See also ATEBURI; FURITSUKE; SHIGUSA.

FURIDAKE. A device for making kabuki curtains (maku) fall. A bam-

boo pole to which small prongs are attached is hung over the stage

parallel to the stage front. From the prongs hangs a special curtain,

such as the dandaramaku. A rope attached to one of the end prongs

is pulled by a kurogo so the pole rotates, allowing the curtain loops

to slip off the prongs so that the curtain falls, quickly revealing bril-

liant scenery as the lights come up brightly. The technique is called

furiotoshi. The opposite technique, furikabuse, entails pl acin g the

curtain onto the pole so that it can be dropped on cue, hiding the

scenery with the effect of a blackout. See also HIKISEN.

FURITSUKE. The kabuki term for ‘‘choreography,’’ executed by the

furitsukeshi (‘‘choreographer’’). At ﬁrst, the actor created his own

dances (buyo

), but choreographers gradually appeared. Eventually,

schools o f dance (buyo

no ryu

ha) e merged to represent different

styles. While theatre choreographers were always male, female cho-

reographers plied their trade in the non-kabuki dance world.

FURYU

. Also called furyu

odori, a kind of popular, large group dance

linked to the origins of kabuki performance, particularly to the reli-

giously inﬂuenced nenbutsu odori that Izumo no Okuni is said to

have performed. The dancers wore fashionable kimono (furyu

sug-

gests ‘‘elegant appearance’’), and performed with elaborate proper-

ties—including a large umbrella at the center of the circle.

FUSHI. The melodic aspect of a gidayu

bushi script. Also, a notation

term for the ‘‘cadence’’ pattern that concludes most of the script’s

jigoto musical paragraphs.

FUSHIGOTO

. The

lyrical or sung parts of a jo

ruri script, its ‘‘pools,’’

in contrast to the ‘‘rapids’’ of the dramatic segments (jigoto). Michi-

yuki dances are prime examples.

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88 • FUTA OMOTE MONO

FUTA OMOTE MONO. ‘‘Two-face pieces,’’ a group of bunraku and

kabuki plays and dances, in which two identical-looking characters

dance together. Often, one is the angry ghost of someone who died

of unrequited love and assumes the lover’s appearance to confront

him or her. The earliest examples showed an actor using quick-

changes (hayagawari) to play both roles but this evolved to where

two actors played the separate roles. A predecessor is the no

play

Futari Shizuka. The earliest bunraku example seems to be a 1710

play of Chikamatsu Monzaemon’s, while the ﬁrst kabuki version is

believed to be an Edo play of 1684. The mid-18th century saw many

such dances. Often, the lovers appear as fern sellers, as in Sumida-

gawa Gonichi no Omokage. Futa Omote now generally refers to this

play’s concluding dance scene.

FUTATEME. ‘‘Second act,’’ also futatsume, a playlet that appeared on

Edo-period kabuki programs following the jobiraki. It was written

by apprentices (minarai sakusha) and performed early in the morn-

ing to sparse audiences by beginning actors. It often centered around

a conspiracy but it had a tenuous connection to the day’s main play.

It was followed by the mitateme.

FUTATSU ORI. A kabuki wig worn by reﬁned young townsmen

(nimaime) in both sewa mono and jidai mono and recognized by its

‘‘double-fold’’ topknot (mage), with its long, lower loop that is dou-

bled, folded, and tied at its base. The back hair (tabo) may be full or

pomaded ﬂat.

FUTOKORO. Also otoshi, a small ‘‘bag’’ ﬁlled with sand, pebbles, or

dried beans (or a combination of these ingredients) that the bunraku

chanter places inside his kimono, above his waistband and against

his abdomen. It keeps his costume orderly no matter how violent the

movements he makes while chanting the play.

FUWA NAGOYA MONO. ‘‘Fuwa Nagoya plays,’’ a series of bunraku

and kabuki plays and dances about the characters Fuwa Banzaemon

and Nagoya Sanzaburo

. Fuwa was a 16th-century samurai who may

have been a close friend of Nagoya Sanzaburo

(or Sanza), a dashing

samurai famous partly because of his possibly having been the lover

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GAKU MONO • 89

of IzumonoOkuni, kabuki’s founder. The ﬁrst play about them

seems to have been a puppet play produced in the 1670s. The earliest

known kabuki version came in 1680. Plays about Fuwa and Nagoya

inevitably featured a saya-ate (‘‘scabbard crossing’’) scene, in which

their scabbards touched as they passed one another in the brothel dis-

trict, leading to a confrontation prevented from escalating by a third

party—often a woman—who came between them and held them off.

Such a scene became the heart of a popular aragoto scene in which

the Ichikawa Danju

line of actors specialized. It became known

as Saya-ate and, under the title Fuwa wasaddedtothe kabuki ju

hach-

iban collection.

GABU. A puppet head used for the pretty young Princess Kiyo in

Hidakagawa Iriai Zakura. By pulling a string, the mouth expands

into an ear-to-ear grimace, revealing horrible gold teeth; eyes that

widen to scary golden squares; and golden horns that sprout through

the hair.

GAKU. ‘‘Court dance,’’ a highly rhythmic mai in no

that begins quietly,

gradually speeds up, and employs frequent stamps; it suggests the

inﬂuence of the ancient bugaku court dances and gagaku court

music. It may be performed as a daisho

mono or a taiko mono.It

appears in plays about powerful gods (like Shirahige) and in those

set in China (like Kantan and Tsurukame); women and youths dance

it in daisho

mono versions. It is danced by a boy’s ghost in Tenko,

the Chinese prisoner in To

sen, and the drum player’s wife in Fuji

Daiko.

In kyo

gen, the term refers to the music accompanying dances by

Chinese characters, and the rhythm resembles that of the gaku in no