Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

Подождите немного. Документ загружается.

HANAYAGI RYU

• 101

called ‘‘ﬂowers.’’ Some think the word was responsible for the

hanamichi getting its name of ‘‘ﬂower path.’’ The written characters

for this hana, though, meant ‘‘celebration.’’

HANAMICHI. The runway that passes through a kabuki theatre on the

stage right side, where it connects to the stage at a right angle. In the

Edo period, it was a right angle only in Kamigata, the Edo angle

running obliquely toward the audience left side. Although found in

bunraku in the Edo period, it vanished from bunraku theatres for

many years but was restored in recent times. The runway serves for

major entrances and exits, and also acts as an extension of the stage

area, depending on the play. Its most important position is called

shichisan, where the suppon trap is located for the appearance of

supernatural characters or for other special uses. Actors enter onto

the hanamichi from the curtained room at the auditorium’s rear

called the agemaku. Lights embedded into the hanamichi come on

for important stage business.

A secondary or ‘‘temporary’’ runway, the kari hanamichi, is some-

times incorporated on the audience’s left. In the Edo period, this was

a permanent structure, but contemporary ﬁnancial concerns often

dictate whether it is to be used as it occupies valuable seating space.

In the premodern period, the secondary runway was the higashi no

ayumi (‘‘eastern walkway’’) or higashi no hanamichi.

One of the best examples of both hanamichi being used for a scene

is in ‘‘Nozaki Mura’’ (Shinpan Utazaemon), where the main runway

(hon hanamichi), covered with a blue ground cloth, acts as a river,

while the kari hanamichi is a river bank. In Igagoe Do

chu

Sugoroku,

actors leave the stage by the main hanamichi, cross the auditorium at

the rear, and return to the stage by the kari hanamichi.

HANAMUKE. Comical male and female puppet heads with movable

noses and mouths. Pushing the nose upwards reveals the teeth.

HANARE KYO

GEN. The one-act ‘‘independent plays’’ and dances that

began to appear in kabuki during the yaro

kabuki period but that

were replaced during the 1660s by multi-act tsuzuki kyo

gen.

HANAYAGI RYU

. The ‘‘Hanayagi school’’ of classical Japanese dance

(see BUYO

; BUYO

RYU

HA)

founded by Hanayagi Jusuke I

PAGE 101

.................15687$ $CH1 12-20-05 11:05:51 PS

102 • HANA YOTEN

(1821–1902) in 1849. He ruled the worlds of kabuki choreography

(furitsuke) and of dance, usually collaborating with Kawatake

Mokuami. Among his many still-seen works are Renjishi, Tsuri

Onna, Modori Bashi, Tsuchigumo, Funa Benkei, and Hagoromo.

Jusuke II (1892–1970) was a leader in the shin buyo

(‘‘New

Dance’’) movement and was succeeded by Jusuke III (1936–).

HANA YOTEN. The ‘‘ﬂower police’’ costume worn by identically

dressed ﬁghters in certain kabuki shosagoto, such as the michiyuki

of Yoshitsune Senbon Zakura. It has vertical red, snake-like lines

intermingled with ﬂowers and leaves on a white background, with the

sleeves tied back by red tasuki matching a red hachimaki. Red tights

and red ﬁngerless mittens cover the back of the hand, the actor wears

no footgear, and he carries a ﬂowering spear or ﬂowering branch as

a weapon.

HANGIRI. The divided trousers worn by noblemen in no

plays, which

resemble those of kabuki. Hangiri are notable for their excellent

embroidered fabric and wide leg openings that expose the feet from

the ankles down. See also COSTUMES: NO

; HAKAMA; O

GUCHI.

HANMAKU. ‘‘Half curtain,’’ a convention used in certain serious no

special performances, of slightly raising the agemaku, revealing the

shite only partly before he enters on the hashigakari, then dropping

the agemaku and lifting it fully for his actual entrance. It is seen, for

example, in Shakkyo

and Kiyotsune. See also HONMAKU.

HANMARU. A kabuki method of building objects like trees and pillars

the

‘‘half round’’ to give them depth, unlike two-dimensional cut-

outs and ﬂats. See also MARU MONO; SCENERY.

HAN MAWASHI. When the mawari butai is revolved only partially to

show the set from a new angle before being revolved back to its origi-

nal position. Although it means ‘‘half turn,’’ the stage is actually

revolved around 45 degrees. An example is ‘‘Naozamurai’’ (Kumo no

Mago

Ueno no Hatsuhana).

HAN NO

. A special ‘‘half no

’’ performance given for celebratory pur-

poses (see SHU

GEN NO

), emphasizing only the second half of a

PAGE 102

.................15687$ $CH1 12-20-05 11:05:51 PS

HARADASHI • 103

two-part play. Usually, in the shortened ﬁrst part, the waki proceeds

quickly to the nanori sequence. The shite, however, does not enter

and, after the waki chants the machi utai, the shite appears and the

second half commences. Han no

are usually selected from among

hatsubanme or gobanme mono. Iwafune and Kinsatsu are amo ng

plays that may be chosen.

HANNYAGUMA. Also heikuro

guma, a type of highly stylized kabuki

kumadori makeup inspired by the frightful hannya no

mask, used

for jealous women transformed into demons. Actor Yamanaka

Heikuro

created it in 1705. See also AIGUMA.

HA NO MAI. ‘‘Development dance,’’ a two-part, brief, quick-tempo no

mai for females in sanbanme mono (‘‘third-group plays’’) that may

follow the jo no mai after a sequence of text. See also MAIGOTO.

HAORI. A silk jacket tied at the front and worn by men in all forms of

traditional Japanese theatre but mainly associated with bunraku and

kabuki. See also COSTUMES: BUNRAKU; COSTUMES: KABUKI;

HAORI OTOSHI.

HAORI OTOSHI. ‘‘Jacket dropping,’’ a kabuki kata whereby a young

lover absentmindedly lets his haori slip off his shoulders. An exam-

ple is Yosaburo

in Yowa Nasake Ukina no Yokogushi.

HAPPI. A lined or unlined three-quarters length military cloak worn

by warriors and demons and seen in all forms of traditional theatre.

It has a two-part construction of back and front, joined by short cloth

strips attached at its bottom corners. It is worn with either o

guchi

or hangiri. Kabuki’s version is of gold brocade and is worn by the

protagonist

the second half of matsubame mono such as Tsuchi-

gumo and Ibaraki. See also COSTUMES: KABUKI; COSTUMES:

HARADASHI. The ‘‘belly thrusting’’ minor kabuki villains in Shibar-

aku who have red faces (akattsura), exaggerated wigs, costumes

with black lateral stripes on a white ground, and large, padded bel-

lies.

PAGE 103

.................15687$ $CH1 12-20-05 11:05:52 PS

104 • HARAGEI

HARAGEI. The realistic, psychologically acute, ‘‘gut acting’’ approach

introduced to Meiji-period kabuki by Ichikawa Danju

IX,in

which characters are played in a quiet and restrained manner in con-

trast to the more ﬂamboyantly external styles. It was most effective

in Danju

’s performances of katsureki mono.

HARI MONO. Wood-framed ‘‘ﬂats’’ with paper or cloth facing used in

bunraku and kabuki settings. They serve as backgrounds and walls,

or opaque sliding doors. Those with scenic views or decorative pat-

terns painted on them are kakiwari. Flats painted in solid colors or to

match other elements in the background and placed behind entrances

to mask the area within are kagami. Flats masking the wings at right

and left are mikiri. Walls used to represent rooms are tsuma. See also

AORIGAESHI; SCENERY.

HASEGAWA SENSHI (1689–1733). Bunraku playwright who gave

up the priesthood to join the theatre. His earliest play was written

independently in 1727 for the Takemoto-za. His best-known works

are collaborations (gassaku) in which he supported the chief house

playwright; they include Kiichi Ho

gen Sanryaku no Maki and Dan

no Ura Kabuto Gunki. In 1732, Senshi, puppeteer Yoshida Bunza-

buro

I, and chanter Takemoto Yamatodayu

I (?–1733) failed to set

up their own company and had to return to the Takemoto-za.

HASEGAWA SHIN (1884–1963). A proliﬁc, self-educated novelist

and shin kabuki playwright whose still-revived works, some

adapted from his novels, include Mabuta no Haha and Ippon Gatana

Dohyo

Iri. He was known for his plays about wandering gamblers

and was respected for dramatizing the nobility of the townsman who

must make a crucial decision between duty (giri) and personal feel-

ings (ninjo

HASHI BAKO. The ‘‘chopstick box’’ trick in which a kabuki ghost

appears through an opening in the scenery by having the actor lie on

a board pushed along on grooves, like the lid of chopstick box,

through a secret compartment in a wall or oversized lantern. It is used

in To

kaido

otsuya Kaidan. See

also KEREN.

PAGE 104

.................15687$ $CH1 12-20-05 11:05:53 PS

HASHIRA MAKI NO MIE • 105

HASHIGAKARI. The ‘‘bridgeway’’ leading to the main acting area of

the no

stage from the kagami no ma. Early stages of the Muromachi

period had no hashigakari, and actors entered at a position upstage

center, walking across an undifferentiated space from the curtained

dressing room to reach it. At a 1464 performance, a bridgeway joined

the stage up center at a right angle. Not long afterward, it was moved

to the stage left side, near the fue bashira, and then to its present

location at stage right. The hashigakari, which is gently sloped from

the kagami no ma to the stage proper, is set on a slightly oblique

angle to the stage, which it joins at the left of the atoza, and ranges

from 33 to 52 feet in length. The precise angle is not ﬁxed, and old-

time hashigakari could even be set at a 45-degree angle.

A low railing (tesuri) runs along both sides, as do three evenly

spaced pillars (examples of four exist, however) supporting the has-

higakari roof. Three small pines, equally spaced, are placed in a

white-pebbled border area (shirasu) running alongside the audience

side of the hashigakari. The pines may be a reminder of when actors

had to reach the stage by walking past actual trees on a shrine ground,

and the white pebbles are considered reminders of the gravel space

that surrounded the stage in premodern times. Two additional pines

are set on the upstage side of the bridgeway. At the doorway to the

kagami no ma is hung the agemaku through which the performers

enter and leave. For a no

performance, the musicians enter on the

bridgeway and take their positions on the stage. Then, as the play

begins, the actors (including the ko

ken) enter and leave via the

bridgeway. During the play, acting passages—including scenes

where a demon leaps off the railing onto the stage—are performed

on the bridgeway, considered an extension of the stage proper. The

actor’s position on the hashigakari is aligned with the placement of

one of the aforementioned pine trees.

Early kabuki stages, being modeled on those of no

, had a hashiga-

kari although they were at a right angle to the stage. Over the years,

the bridge grew wider until it could not be differentiated from the

stage proper. The area continued for some years to be called by its

name even after the hanamichi became a regular architectural fea-

ture in the ﬁrst third of the 18th century.

HASHIRA MAKI NO MIE. The ‘‘pillar-wrapping mie’’ seen in kabuki

aragoto plays and danmari when the actor grasps a pillar, tree, or

PAGE 105

.................15687$ $CH1 12-20-05 11:05:53 PS

106 • HATARAKIGOTO

halberd with both hands, and wraps one foot around it. An example

is performed by Narukami in Narukami.

HATARAKIGOTO. ‘‘Action pieces,’’ also simply hataraki,shortno

dances featuring mimetic elements. They are more closely connected

with textual meaning than mai, which are more formalistic. Hatara-

kigoto reﬂect momentary concerns in the play, mai express the play’s

overall emotional quality. In hatarakigoto, the dancer and fue player

are not tied to the rhythms of the drums. Classiﬁcation of hataraki-

goto varies, one system following four general categories: iroe, kak-

eri, mai bataraki, and hataraki. See also MAIGOTO.

HATARAKI MONO. A subdivision of the hatsubanme mono (‘‘ﬁrst-

group plays’’) category of no

plays, featuring a vigorous hataraki-

goto. The shite are ﬁerce gods (aragami) who allow for subdivisions

based on the type of no

mask they wear. There are (a) ﬁve kurohige

mono, in which a dragon god appears: Chikubushima, Enoshima,

Mekari, Kusenoto, Iwafune; (b) two kobeshi mono: Himuro, Saka-

hoko; (c) two tobide mono: Kamo, Arashiyama (which, despite being

in this group, has no hataraki); (d) one tenjin mono: Kinsatsu (e) two

akujo

mono: Tamanoi and Fujisan. U no Matsuri, part of the chu

mai subdivision,

y also be considered a hataraki mono. In addi-

tion, in one system of classiﬁcation, at least 34 plays from the ﬁfth

group (gobanme mono) are also called hataraki mono. Kyo

gen also

has several pieces known for their hataraki properties, among them

being Ebisu Daikoku and Ebisu Bishamon. See also CHU

NO MAI

MONO; GAKU MONO; KAMI MAI MONO; SHIN NO JO NO MAI

MONO.

HATSUBANME MONO. The ‘‘ﬁrst play group’’ on a classical ﬁve-

play no

program where it corresponds to the shin (‘‘god’’) segment

of the shin dan jo kyo

ki (or shin nan nyo kyo

ki) sequence. Shin is

another pronunciation of the character for a Shinto deity (kami), the

role taken by the shite, so these plays are often called kami no

kami mono. They are also widely called waki no

, about which there

is some dispute. One argument is that the waki makes a ceremonious

appearance in them, while another holds that these plays frequently

followed the ritualistic piece Okina, just as the ﬁrst line (hokku)ofa

PAGE 106

.................15687$ $CH1 12-20-05 11:05:54 PS

HATSUHARU KYO

GEN • 107

poem is followed by the second (wakiku); thus, because of their posi-

tion in the program, a shortened form of the latter term was applied

to the plays. These plays, of which there are about 40, also constitute

the jo part of a program’s jo-ha-kyu

rhythmic structure.

When a program is arranged so that a play from another category

appears in place of a ﬁrst-group play, the other work is called a ryaku

waki no

(‘‘alternative waki no

’’), while authentic waki no

are known

as hon waki no

. Do

myo

-ji and Rinzo

, plays in which Buddhist avatars

(hotoke mono) appear, are not permitted to open programs that are

preceded by Okina.

Many hatsubanme plays are in two acts. The shite makes his ﬁrst

appearance (as the maejite) in the form of an elderly human being

who speaks of the origins of a local shrine or some legend associated

with a notable place. When the shite reappears (as the nochijite)in

the second act he is in the form of a deity and conveys an aura of

auspiciousness, advocating peace on earth, and celebrating longevity,

health, and prosperity. Such plays often honor the history of a spe-

ciﬁc Shinto shrine. There are a number of subdivisions and sub-sub-

divisions. The subdivisions are named according to the type of dance

they feature; the subdivisions, where they exist, get their names from

the no

mask (or one like it) worn by the nochijite. The subdivisions

are chu

no mai mono, gaku mono, hataraki mono, kami mai mono,

and shin no jo no mai mono. See also GOBANME MONO;

NIBANME MONO; SANBANME MONO; YOBANME MONO.

HATSUHARU KYO

GEN. Also hatsu shibai, haru kyo

gen, and haru

shibai, the ‘‘early spring play’’ or ‘‘New Year’s play,’’ which fol-

lowed the kaomise production and served as the second production

the

annual Edo kabuki season. It was ni no kawari in Kamigata.

It originally began on the second day of the New Year, but in the

1850s opening day was moved to the 15th or 17th. From 1715 on, it

became customary to include the Chinese characters for the name

Soga (see SOGA MONO)inhatsuharu titles in Edo, while in Kami-

gata the word keisei (‘‘courtesan’’) was used instead. From 1708 to

the end of the 18th century, Edo’s theatres produced a jidai mono

about the Soga brothers’ revenge, with a set dramatic structure, as

the ﬁrst part of the program, while the second half was a two-act

sewa mono, set within the Soga sekai. A variety of religiously-based

PAGE 107

.................15687$ $CH1 12-20-05 11:05:55 PS

108 • HAUTA

customs, usually related to annual festivals, arose in connection with

these annual productions. By the end of the 18th century, the hatsu-

haru kyo

gen was followed in the third month by yayoi kyo

gen. See

also KO

GYO

HAUTA. A kind of music played in the kabuki geza to describe charac-

ters and scenic locales. It derives from a type of short love song of

which there were two main forms, one associated with Kamigata,

the other with Edo. See also KOUTA.

HAYABUE. In no

, a rapid musical passage for entrances featuring the

fue accompanied by the taiko, kotsuzumi, and o

tsuzumi. The shite

and tsure—ghosts, demons, violent deities, etc.—run on in time to

its accompaniment during the play’s second half (nochiba). The

dancing of a mai bataraki usually follows it. Plays include Chikubu-

shima, Funa Benkei, Kamo, and Kurozuka, etc.

There is also a hayabue that excludes the taiko and is used in the

nochiba for the entrance of shite without masks (hitamen), as in

Hachi no Ki and Youchi Soga. See also MUSIC: NO

HAYAGAWARI. Bunraku and kabuki both use ‘‘quick-change tech-

niques,’’ but they are most closely associated with living actors who

have to play two or more roles in the same scene or suddenly reveal

a hidden aspect of their character by changing their appearance. Spe-

cial kabuki costumes, properties, and wigs play an important role

these

transformations, which are often carried out in front of the

audience’s eyes. Occasionally, the trick is enhanced by the use of an

actor’s ‘‘double’’ to distract attention while the main actor is else-

where changing. Various techniques were created throughout the

18th century, and a number of actors came to specialize as quick-

change ar tists, sometimes acting both as killer and his victim, for

instance. In the early 19th century, there was a tremendous boom for

such performances, with the star playing from 7 to 12 characters. The

henge mono genre exploited quick-change techn ique to allo w the

actor to demonstrate his versatility. Actors also might play multiple

major roles in classical dramas. See also BUKKAERI; HAYA

GESHO

; HIKINUKI; KEREN; TOITAGAESHI.

PAGE 108

.................15687$ $CH1 12-20-05 11:05:56 PS

HAYATSUZUMI • 109

HAYAGESHO

. ‘‘Rapid makeup,’’ a quick makeup change, done in the

wings, on stage, or in the agemaku at the end of the hanamichi, and

signifying an alteration in the character’s personality. Sometimes, as

in Seki no To, the actor has access to a trick property (a large ax in

Seki no To), with a concealed makeup compartment. See also HAYA-

GAWARI.

HAYAMAI. ‘‘Fast dance,’’ in no

, a long mai of the taiko mono variety

performed by an emperor (as in Genjo

), young nobleman’s ghost (as

in To

ru), or female bodhisattva (as in Ama), given at a somewhat

spirited tempo with a fue accompaniment in the lively, high-pitched

tone called banshikicho

. In one system of classiﬁcation, a subdivision

of the gobanme mono group of no

is called hayamai mono because

of the presence of hayamai. See also MAIGOTO.

HAYASHI. The different orchestral ensembles in traditional Japanese

theatre. The musicians are hayashikata, while hayashi beya may

refer to the kabuki musicians’ dressing room in kabuki or to the geza

music room of bunraku and kabuki. Although hayashi can be

expanded to include shamisen players and singers, kabuki restricts

the word to musicians who perform percussion and wind music.

Basic are the no

-derived instr umen ts of fu e, kots uzum i and o

su-

zumi

, and taiko, although a number of other instruments may be used

as well. See also GEZA; MUSIC:NO

; NARI MONO; SHIBYO

SHI.

HAYASHIGOTO. Of the four principal categories of no

sho

dan, the

one devoted solely to instrumental music. It is used for entrances of

the shite and waki; exits; dramatic transitions; emotional highlights

suggesting battles, madness, and danger; the shite’s long dances

(mai); and miscellaneous special material. Each has its own name

and conventions. See also KATARIGOTO; SHIJIMAGOTO; UTAI-

GOTO.

HAYASHIKATA. ‘‘Musicians,’’ also nari monoshi in kabuki (see NARI

MONO). In no

, the hayashikata are considered actors in a perform-

ance.

HAYATSUZUMI. In no

, a relatively rapid beating of the kots uzumi

and o

tsuzumi usually used for hurried entrances of the aikyo

gen.In

PAGE 109

.................15687$ $CH1 12-20-05 11:05:57 PS

110 • HEADGEAR

the most common pattern, the shite and waki exit, and the aikyo

gen

quickly appears. This happens often in genzai mono, like Hashi Ben-

kei and Hachi no Ki. See also MUSIC: NO

HEADGEAR. Characters in traditional Japanese theatre wear a wide

assortment of different headpieces, called kaburi mono or kanmuri

mono. The four main categories are bo

shi, eboshi, kanmuri,and

zukin. For each, there are a number of speciﬁc styles. In addition,

there are also a small number of straw rain hats (kasa). The large

assor tment of headbands (hachimaki) is not considered kaburi

mono. See also COSTUMES: BUNRAKU; COSTUMES: KABUKI;

COSTUMES: KYO

GEN; COSTUMES:NO

HEIDA MONO. A subgroup of the nibanme mono of no

featuring

brave samurai who wear the heida no

mask Tamura, Yashima, Ebira,

and Kanehira. The ﬁrst three include a kakeri dance and are the only

ones about victorious heroes; they are known as katchi mono (‘‘vic-

tory plays’’).

HEIKYOKU. The style of narrative music in which military stories

from the Heike Monogatari (see LITERARY SOURCES) were per-

formed during the middle ages by blind biwa players. It was an

important predecessor of jo

ruri.

HENGE

MONO

. Kabuki ‘‘transformation dances’’ devised, mainly in

the 19th century, to exploit interest in quick-change techniques (haya-

gawari) and performer versatility. Each is made up of a series of dis-

crete dances in which the original star presented a strikingly new

character, sometimes portraying up to 12 roles, although seven was

standard because of its auspicious associations. The great henge

mono actors of the day were tachiyaku like Bando

Mitsugoro

III

and IV,andNakamura Utaemon III and IV, the rivalry between

Mitsugoro

III and Utaemon III being responsible for the genre’s

development. The most versatile actors were called kaneru yakusha.

Henge mono evolved from those with dramatic themes to show-

cases for versatility, with little connection between the characters.

Abstract themes appeared, such as snow, moon, and ﬂowers; the four

seasons; the ﬁve great festivals; the six poets; the eight views of O

mi;

PAGE 110

.................15687$ $CH1 12-20-05 11:05:57 PS