Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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GEKIAI • 91

Sakata To

in To

no Koi; Izaemon in ‘‘Yoshidaya’’ (Kuruwa

Bunsho

); and Yo

heiin‘‘HikiMado’’(Futatsu Cho

cho

Kuruwa

Nikki).

GASSAKU. The practice of multiple bunraku or kabuki playwrights

collaborating on a play. It may have originated in kabuki in the late

17th century when actor Ichikawa Danju

I (writing as Mimasuya

Hyo

go) worked with Nakamura Akashiseisaburo

. Bunraku does not

seem to have used it until late in Chikamatsu Monzaemon’s career

when he revised other playwrights’ work in 1722 and 1723. After

his death, puppet plays were increasingly written by hierarchically

organized collaborative groups of two or more, and as many as 12 or

13 on rare occasions. Each act was assigned to a separate author.

The results were increasingly complex dramas that permitted a

wide diversity of styles and materials. But gassaku alsoledtoa

weakening of the relationship between the contents of one act and

another and a loss of overall unity. And the abundance of dramatic

highlights that resulte d cam e to d imin ish t he ly rica l and roma ntic

qualities of the dramaturgy. Thus theatrical values overshadowed lit-

erary ones.

GEIDAN. The autobiographical ‘‘art commentaries’’ in which kabuki

actors discuss their artistic ideas and achievements. The ﬁrst kabuki

geidan were secret writings (hiden), the most famous being the

Yakusha Banashi of the early 18th century. During the Meiji period,

they were published in fan magazines for a general readership but in

the early 20th century, they began to appear as serious efforts to pre-

serve the endangered art of kabuki.

GEKIAI. ‘‘Dramatic interlude,’’ a kind of aikyo

gen in no

in which,

unlike the standard ashirai-ai type, more than one ai may appear and

in which such characters dance and chant. Examples in hatsubanme

mono include the saru muko (‘‘monkey son-in-law’’) of Arashi Yama

in which a gibberish-speaking monkey performs, and the onda

(‘‘rice-planting’’) segment of Kamo in

which

a god and a rice-plant-

ing girl chant together. Gekiai may be used as set pieces (kaeai), con-

sidered independent mini-kyo

gen within a no

play, especially the

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92 • GEKI BUSHI

‘‘Nasu no Katari’’ sequence in Yashima. See also KATARIAI; TACHI-

SHABERI.

GEKI BUSHI. A musical style established by Satsuma Geki in Edo

during the mid-17th century. It began in ko jo

ruri, but in 1678 was

performed in kabuki, where it was deemed suitable for aragoto act-

ing. It then merged with o

zatsuma, and was eventually absorbed by

nagauta in such works as Shakkyo

. See also JO

RURI.

GENROKU MIE. Named for the Genroku period, this aragoto pose

projects a samurai’s great power as the actor steps forward strongly

with his left foot, grabs his sword with his left hand, supports his

weight on his right knee, and holds aloft his right hand in a ﬁst. It

is used by Umeomaru in ‘‘Kuruma Biki’’ (Sugawara Denju Tenarai

Kagami), Benkei in Kanjincho

, and Gongoro

in Shibaraku, etc.

GENTA. Male puppet head, used for handsome young men like Koga-

nosuke in Imoseyama Onna Teikin and Kanpei in Kanadehon Chu

shingura.Thegenta, which gets its name from a character in

Hirakana Seisuiki, has a rather wide application, covering characters

from their late teens into their late twenties. A jidai mono example

is Juˆjiro

in Ehon Taiko

ki. Examples in Chikamatsu Monzaemon’s

sewa mono include Jihei in Shinju

Ten no Amijima. There are genta

with movable eyes and eyebrows (or simply eyelids) and those with-

out, the former called ugoki no genta (‘‘movable Genta’’), the latter

ugokinashi genta (‘‘unmovable Genta’’).

GENZAI MONO. A subdivision of the yobanme mono (‘‘fourth-group

plays’’) no

categor

representing those ‘‘present time’’ no

plays

whose shite are living persons, in contrast to the otherworldly shite

of mugen no

. Genzai mono, which are performed without masks

(hitamen), tend to be the most dramatic plays and foreshadow the

later appearance of bunraku and kabuki. The conﬂict between shite

and waki, often so attenuated or even nonexistent in other plays, is

usually clear. Several such plays were adapted by kabuki.

Plays classed as genzai mono include (a) a group that includes an

otoko mai: Ataka (2, 5), Genpuku Soga, Genzai Tadanori, Kiso (1, 2,

5), Kogo

(2), Kosode Soga (2), Kusu no Tsuyu (2), Manju

(also called

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GEZA • 93

Nakamitsu;2),Morihisa (2), Sakurai Eki, Sekihara Yoichi (2, 5),

Shichiki O

chi (2, 5), Shun’ei (2); and (b) a group in which there is

swordplay (kirikumi) with multiple characters (tachishu) participat-

ing: Daibutsu Kuyo

(also called Nara Mo

de; 5), Eboshi-Ori, Hashi

Benkei, Nishikido (2), Sho

zon, Zenji Soga, Tadanobu (2), Youchi

Soga (2, 5). Numbers in parentheses indicate other no

groupings into

which these plays sometimes are placed. See also JUN WAKI NO

MONO; NESSHIN-YU

REI MONO; NINJO

MONO; MONOGURUI

MONO; YU

KYO

-YU

GAKU MONO.

GETA. Wooden clogs with a thong strap, worn as footgear by many

bunraku and kabuki characters. The varieties include those with two

teeth and those with one; heights also may differ, as may the ﬁnish.

High-class courtesans like Agemaki i n Sukeroku Yukari no Edo

Zakura wear takageta (‘‘high geta’’), nearly a foot high.

GEZA. Also kuromisu, an offstage room in bunraku and kabuki.In

kabuki,itisatstage right, facing the audience on a diagonal, its inte-

rior screened off by a rattan blind (kuromisu; see

MISU), and its pres-

ence

integrated into the scenery by facing ﬂats. In bunraku,itisa

small room, also with a rattan blind, but situated at stage left over the

chanter and shamisen player’s yuka platform, and occupied by only

two or three musicians using a wide variety of instruments. Both

types of geza are used for performing ‘‘stage effects’’ music (geza

ongaku) and background accompaniment; the most important instru-

ment is the shamisen. Kabuki geza music includes that performed

collectively by the orchestra of nagauta musicians and singers

known as the hayashikata or nari monoshi. Music is played to

accompany entrances and exits, highlight various acting sequences,

and to ﬁll in intervals. It creates symbolic versions of sound effects,

such as wind, snow, and rain. (See DORODORO.) Knowledgeable

spectators can tell from the music much about the characters or the

performance, and can recognize which is decorative, which instruc-

tive, and which atmospheric.

There are three main types of geza music: uta (singing), aikata,

and nari mono. Singing ranges from simple, one-person songs with

no accompaniment (su-uta) to choral songs with a full orchestra

(zo

youta). (See DOKUGIN; MERIYASU.) There are some 800 geza

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94 • GIDAYU

BUSHI

musical pieces covering uta, aikata,andnari mono. See also

DEBAYASHI; DEGATARI.

GIDAYU

BUSHI. The musical component of bunraku, named for the

great chanter Takemoto Gidayu

. It is the best-known school of

ruri performance and is also crucial to kabuki, where it is heard

both in plays adapted from bunraku and in those plays for which it

was especially composed. It can also be performed in concert style

(su jo

ruri). See also CHOBO.

Gidayu

bushi, which fused the boldness of Inoue Harima no jo

and the delicacy of Uji Kaga no jo

with the mournful elegance of

Yamamoto Tosa no jo

, came into prominence with the founding of

the Takemoto-za in 1684. Known then as to

ryu

ruri (‘‘up-to-date

ruri’’) and shin jo

ruri (‘‘new jo

ruri’’), it ended the long succession

of ko jo

ruri styles. It matched the tastes of the average townsman,

borrowing elements from various popular styles he enjoyed singing.

It also overcame the popularity of yo

kyoku, whose best points it

absorbed. By the time of its appearance, the great musical styles of

the previous three centuries, such as heikyo ku, yo

kyoku, ko

waka-

mai, and sekkyo

bushi, had become ossiﬁed; moreover, their support

came

principally

from the nobility and warrior class and they had

become increasing ly re moved from t he averag e man . By t he mi d-

18th century, they were heard mainly in provincial venues.

As in most dramatic forms, gidayu

bushi depended on human con-

ﬂict for its theatrical effect. The central conﬂict it exploited was

between duty (giri) and emotion (ninjo

), one with which every citi-

zen of the time was familiar.

The chanter performs the yuka hon, whose dramatic structure

differs according to whether it is a sewa mono or jidai mono. These

were written either as independent works or as collaborations (gas-

saku). Although shamisen music is now capable of being notated,

doing this for gidayu

bushi is difﬁcult, however it is being attempted.

The original chanter’s style (fu

) is generally preserved and given

great respect, although it is hard to say how much has been retained.

As gidayu

bushi developed, the conventions multiplied, giving rise

to numerous concepts in dramaturgy and music. There are, for exam-

ple, such dramaturgical terms as monogatari, kudoki, and modori,

as well as notations in the script placed there by the original chanters

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GIRI • 95

and still used to provide technical advice. Those parts of the text

devoted to purely lyrical expression, such as michiyuki, are fushi-

goto. The major notations, as listed by Gerstle (2001, 31), are fushi,

suete, okuri, gin or kamiu, kami, utai, jo, sanju

, uta, kotoba, ji or ji-

iro, and kowari. See also GIDAYU

KYO

GEN.

GIDAYU

KYO

GEN. Also jo

ruri, maruhon mono, maruhon kabuki,

takemoto geki, denden mono, and inpon mono, kabuki adaptations of

bunraku plays and accompanied by gidayu

bushi. Kabuki had begun

adapting puppet plays in 1708, starting with Chikamatsu Monzae-

mon’s Matsuyo no Komuro Bushi, which it called Tanba no Yosaku,

but it was not until 1717 when kabuki adapted Kokusenya Kassen

that the borrowing included gidayu

bushi as well as the text. Kabuki’s

‘‘three masterpieces,’’ Sugawara Denju Tenarai Kagami, Kanadehon

Chu

shingura, and Yoshitsune Senbon Zakura, were originally puppet

plays.

GIMIN MONO. A

group

of bunraku and kabuki ‘‘plays about self-sac-

riﬁcing men,’’ centered on a public-spirited individual who puts him-

self on the line in order to relieve the suffering of the oppressed

peasantry. Because they take a political stance, such plays did not

appear prior to the mid-19th-century, when the shogunate’s power

was weakening. The ﬁrst was 1851’s Higashiyama Sakura no So

shi,

a kabuki drama loosely based on what is a presumably true stor y

about a lord who had so brutalized his peasants with unfair taxes that

their headman, Kiuchi So

goro

(Sakura So

goro

in the play), appealed

on their behalf to the government, a forbidden act for which he and

his family were cruciﬁed. Subsequently, a number of other plays on

the same subject were produced with Sakura So

goro

as the hero.

GIN. Also kamiu, notation in a jo

ruri script to denote a high pitch used

at moments of extreme emotion. See also GIDAYU

BUSHI.

GIRI. A Confucian-based concept variously translated as ‘‘duty,’’

‘‘restraint,’’ ‘‘rational thought,’’ ‘‘proper behavior,’’ or ‘‘obligation,’’

and considered a linchpin of many Edo-period plays, especially those

of Chikamatsu Monzaemon. In drama it represents the correct

social behavior of a person, the role he must play in relation to others

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96 • GOBAN DATE

in the strict hieratical structure—friends, family, superiors, etc.—of

social obligations in which a person existed. Often, this code is in

conﬂict with the character’s personal desires or feelings (ninjo

). Dra-

matists exploited this conﬂict to create powerful obstacles that were

overcome by favoring one over the other, although tragic results

resulted no matter which was followed.

GOBAN DATE. The classic ‘‘ﬁve-play’’ no

program. When it begins

with Okina and ends with a shu

gen no

, seven pieces are on the pro-

gram. Goban date programs are now rare. See also SHIN DAN JO

KYO

KI.

GOBANME MONO. The ‘‘ﬁfth group of plays’’ on a ﬁve-play no

pro-

gram, where it corresponds to the ki (‘‘demon’’) part of the shin dan

jo kyo

ki (or shin nan nyo kyo

ki) sequence. It corresponds to the kyu

section in the jo-ha-kyu

rhythmic structure of a no

program. The ﬁfth

group is also called kiri no

(‘‘ending no

’’) because of its place at the

conclusion of the program. This holds true even on celebratory occa-

sions when an abbreviated but auspicious shu

gen no

is appended to

the program. The shite, who may ﬁrst appear in the guise of a court

lady, priest, or old woman, usually turns out to be one of a variety of

supernatural creatures or malevolent or benign demons (kichiku, oni,

tengu). There are many kinds: in Momijigari and Tsuchigumo they

appear as humans and take part in people’s affairs; those in Kayoi

Komachi and Do

-ji are dead persons’ spirits who return to wreak

vengeance; the mountain witch in Yamanba isanaturespirit;and

those in Ukai and Matsuyama Kagami are ﬁends who punish sinners

hell.

Such plays, which may have large casts, feature lively move-

ment or dancing, with a lot of stamping and tossing of a mane-like

wig; even acrobatics may appear in certain plays. These plays

bring the no

program to a festive conclusion in accordance with the

principle of jo-ha-kyu

This is the second-largest category, with over 50 titles; some are

also considered part of other categories. One way of grouping the

plays divides them into three subcategories: oni mono, ningen

mono, and mai mono. The dance (hayamai and taiko chu

no mai)in

the latter category is more dance for its own sake than the dramatic

hataraki (see HATARAKIGOTO) in the other categories; thus, its

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HABUTAE • 97

name (see MAIGOTO). When the plays are classed by the kind of

dance they feature, the categories are hataraki mono, hayamai mono,

and tokushu mai mono (‘‘specialized dance plays’’), an assortment

including works using one of the following types of maigoto:

midare, shishimai, and chu

no mai, as well as the type of walking

sequence called tachimawari.

These plays are all ‘‘orthodox’’ gobanme mono (hon gobanme

mono), but when a play from another category is used in the

gobanme program position, it is called ryaku gobanme (‘‘alternative

ﬁfth-group’’). Two ﬁfth-group plays are titled Raiden. The ﬁrst, an

oni mono, uses the Chinese characters for ‘‘Thundergod’’; the sec-

ond, a mai mono, uses those for ‘‘Worship Hall.’’

GOCHU

SHIN. A military messenger who, wearing special battle

dress, runs in on the hanamichi to report to his superiors on various

military matters in the course of a kabuki jidai mono adapted from

bunraku (maruhon mono). His monologue is accompanied by

gidayu

bushi accompaniment, and, using a sword or spear, he per-

forms a series of dance-like martial movements during it. At the end,

he runs off, shouting ‘‘I bid you a hasty farewell’’ (hayaosaraba).

One example is in the Daimotsu Beach scene of Yoshitsune Senbon

Zakura.

HABA. The ‘‘opening scene’’ of a bunraku act (dan), in contrast to the

kiri. It introduces the main characters and events, setting up the back-

ground against which the kiri is enacted. Titled examples of haba

include ‘‘Terairi’’ (of ‘‘Terakoya’’ in Sugawara Denju Tenarai

Kagami) and ‘‘Miuri’’ (of ‘‘Kanpei Seppuku’’ in Kanadehon Chu

hingura). Tate haba refers to an opening scene that, unlike those per-

formed against the same scenic background as the kiri, has different

scenery and a somewhat different narrative than in that section. An

example is the ‘‘Shii no Ki’’ haba of Act 3 of Yoshitsune Senbon

Zakura in

contrast

to the ‘‘Sushiya’’ scene that closes it.

HABUTAE. A square silk cloth used with kabuki wigs. The chief type

is worn over the actor’s scalp to cover his hair and hairline and to

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98 • HACHIMAKI

suggest the shaved portion surrounded by the wig; the other impor-

tant kind has strands of hair sewn to it before the habutae is pasted

to the daigane. The visible silk is made up to match the face, with

bluish makeup (seitai) used for the shaved portion.

HACHIMAKI. The cotton, silk, or crepe ‘‘headbands’’ worn by various

bunraku and kabuki characters. A wide variety of styles, each with

different conventions, helps to distinguish those who wear them,

including the state of their health. They are tied at the front or side.

White is often worn by samurai and onnagata, reddish yellow by

gochu

shin messengers, and purple by nimaime. See also COS-

TUMES: BUNRAKU; COSTUMES: KABUKI; HEADGEAR; YA MA I

HACHIMAKI.

HACHIMONJI. A walking method used by certain high-class kabuki

courtesans (tayu

), like Agemaki in Sukeroku Yukari no Edo Zakura,

who move their feet in a Japanese ‘‘ﬁgure 8’’ pattern as they walk

along the hanamichi.

HAGINO YAEGIRI. Four generations of kabuki actors. The name

causes confusion because of the similar characters used to write Hagi

and Ogi, both of which were used at one time or another to write the

family name (Hagino or Ogino). Yaegiri I (?–1736?) was a famous

early Kamigata onnagata who also performed in Edo, and who took

this name in 1719. He specialized as a lover in Chikamatsu Mon-

zaemon’s shinju

mono and was so inﬂuential that the playwright

called the heroine of Komochi Yamanba Yaegiri.

Yaegiri II (1736–63) drowned in Edo’s Sumida River, which so

grieved his wife that Segawa Kikunojo

I, who had been present,

based his performance of Okaru in Act 7 of Kanadehon Chu

shingura

on her.

HAIMYO

. A pen name used for writing haiku, an ar t cultivated by

many kabuki actors, who often used their haimyo

as stage names.

Names that were once haimyo

include Shikan, Baigyoku, and

Sho

roku.

HAIYU

KAIKYU

. The

feudal hierarchy of ‘‘ actors’ ranks’’ into

which kabuki actors are divided. The chief groups are nadai (‘‘name

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HAKOBI • 99

actor’’) and nadai shita (‘‘below name actor’’), based on those whose

names were or were not printed on Edo-period kanban. Nadai also

has other meanings (see KYO

GEN NADAI). The highest nadai is the

zagashira, while the leading onnagata is the tate onnagata. Stars are

nadai, supporting players are chu

nadai, and the level below that is

hiranadai. Nadai shita (also called shitamawari), those whose names

do not appear on kanban or in banzuke, are the lower rank of per-

formers. This unsung group was originally called tsume (‘‘stufﬁng’’)

and later acquired other names. Since 1878, the three main ranks for

them have been (in descending order) kamibun or aichu

kamibun,

aichu

(also chu

dori or inari machi), and shita tachiyaku. (See

BEYA.) These actors ser ve primarily as members of picturesque

groups, where they are often dressed alike, perhaps to do battle with

the hero. To move up in the kabuki world, the actor has the opportu-

nity to pass a written and performance test (nadai shiken) held once

every two years, but the standards are very high and the process dif-

ﬁcult. Actors who pass receive a certiﬁcate.

HAKAMA. The wide, divided trousers worn over kimono in traditional

male samurai dress, seen in all forms of traditional theatre. Women

in kabuki jidai mono sometimes wear a red version. The color is gen-

erally white, red, pale blue, or navy. There are also long, trailing

hakama (nagabakama), worn with matching vests (suo

kamishimo)

that may be wide sleeved or have wing-like shou lder s (ka taginu ).

There are a number of types seen in kabuki, each having a different

purpose or appearance, such as the no bakama for outdoor wear; the

kukuri bakama, tied at the ankle; the ue

bakama, worn as noble-

men’s formal dress, etc. See also COSTUMES: KABUKI; COS-

TUMES: NO

; HANGIRI; KAMISHIMO; O

GUCHI.

HAKAMA NO

. A performance of no

in which the actors dress in mon-

tsuki and hakama in order to avoid the discomfort of a fully cos-

tumed performance, as during the summer months.

HAKOBI. The art of ‘‘walking’’ or ‘‘carriage’’ in no

, which requires the

actor to move by sliding his feet (suriashi) along the polished wood

ﬂoor, a foundation for no

acting. It is a theatricalization of natural

walking, and, apart from leaps, the feet rarely leave the ground. The

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100 • HAKU

hakobi varies from role to role depending on the music and the emo-

tional level, as well as the role type, and a small number of roles have

styles unique to them. See also KATA; MAI.

HAKU. An undergarment worn with no

costumes and made of soft,

white satin, usually seen exposed slightly at the chest. No

costumes

follow the ancient concept of layered clothing, with several robes

worn one over the other.

HAMASHIBAI. ‘‘Shore theatres ,’’ O saka kabuki thea tres or igin ally

located with their backs to the Do

tonbori Canal, but moved to face it

after 1652. The term came to refer to low-class theatres in general.

Most belonged to the group called chu

shibai.

HANA. In no

, the ‘‘ﬂower,’’ one of the principal aesthetic terms devel-

oped by Zeami for appreciating no

artistry. J. Thomas Rimer calls it

‘‘the true beauty created by the actor’s performances in different

ways throughout his career’’ (1984, xxii). Erika De Poorter notes that

most now agree that to Zeami: ‘‘hana was the effect, the impression

made on the public by a performance, or to put it another way, the

sensations that an actor awakens in the spectators’’ (2002, 54).

Although he nowhere deﬁnes it speciﬁcally, the word is discussed

variously in Zeami’s secret writings, where (in the reading ‘‘ka’’) it

appears in the titles of six treatises and in numerous terms, like

myo

ka, ‘‘the ﬂower of peerless charm.’’ Zeami himself suggests that

the meaning can only be grasped intuitively, not just through logic.

Essentially, the concept implies that an actor’s art blooms like a

ﬂower, and that the presence of such blossoms determines the beauty

of the actor’s performance. There are different degrees of ﬂowering

(see KYU

I), and different kinds of blossoms that appear at different

times in one’s career, even in early childhood, some hana being tem-

porar y (mibun no hana), others permanent; the actor’s ultimate

goal—through never-ending practice and devotion to his art (the seed

of the ﬂower)—is to achieve through imagination the highest level—

the true ﬂower (makoto no hana) that does not wither—and to main-

tain it as long as possible.

Hana also were ‘‘gifts’’ given to actors by fans in early kabuki.

The gifts were accompanied by ﬂowering plants, so they came to be

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