Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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HIDEN • 111

the 12 months or signs of the zodiac, etc. The actors created charac-

ters who differed in age, sex, occupation, genus (animal, human, or

divine), and so on, offering a panoply of Edo-period types. Unfortu-

nately, only single dances survive, except for Rokkasen, still some-

times produced with all of its six dances. Among surviving henge

mono segments are Asazuma Bune, Sanja Matsuri, Hane no Kamuro,

Kairaishi, Shiokumi, Echigo Jishi, Sagi Musume, Fuji Musume,

Yasuna, and Tenaraiko.

HIDARIZUKAI. The ‘‘left hand puppeteer’’ who, using his right hand,

operates the bunraku puppet’s left. He opens and closes its ﬁngers by

manipulating two strings attached to a 15- to 17-inch-long armature

(sashigane) connected to the puppet near its elbow. He stands at the

left side of the omozukai, with whom he usually keeps his body in

touch so that he can adjust to his breathing and movements. His focus

remains on the back of the puppet’s head. To the degree possible, he

stands on a slant away from the puppet to prevent interfering in the

puppet’s movements. One of his duties is to supply the puppet with

small hand properties, such as fans, pipes, and hand towels (tenu-

gui), taken from and returned to an assistant (kaishaku).

Traditionally, the hidarizukai was promoted to this position after

10 years as an ashizukai, with another decade required as hidarizukai

before he could be promoted to omozukai. See also DEZUKAI.

HIDEN. The ‘‘secret writings’’ transmitted by great artists to their

artistic descendants. Japanese theatrical hiden began with the writ-

ings of Zeami, who developed his theories in 21 essays, beginning

with the Kadensho, and including among others (all written between

1418 and 1433), the Shikado

, the Kakyo

, the Yu

gaku Shu

ken,

Kyu

i, the No

sakusho (or Sando

the Shu

sho

, and the Sarugaku

Dangi, written to preserve his teachings on no

performance and play-

writing. Zeami was following an established tradition of secret writ-

ings in other arts, such as poetry, which were intended only for the

eyes of initiates. His writings remained within the family until a col-

lection of 16 (technically, 15) texts (known as the Zeami Ju

rokubu-

shu

) was discovered in a Tokyo secondhand bookstore in 1908; a year

later they were edited and published under the editorship of historian

Yoshida To

go (1864–1918). Other texts were found in the following

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112 • HIIKI

years (the last coming in 1956). Increasingly better scholarly editions

appeared in the 1940s and the postwar years.

These writings, while sometimes venturing into the metaphysical,

are appreciated for their vividly practical discussion of the artist’s

problems, the correct approach to training, the way to relate to an

audience, how to discriminate among artists in terms of ability, how

to employ jo-ha-kyu

, and how to achieve (and describe) the proper

level of stylized beauty through the arts of song and dance, or the

three fundamental roles of old man, warrior, and woman. Zeami pro-

vided the world of no

with a unique aesthetic vocabulary that is still

very much in use, with terms like yu

gen, hana, and monomane. The

treatises are also extremely valuable historical documents reﬂecting

the competitive ar tistic circumstances of no

’s early days. In later

years, many secret treatises were written by others, sometimes fraud-

ulently attributing their authorship to impor tant earlier persons—

including Zeami—in an attempt to strengthen the authority of a

school.

Kyo

gen, bunraku, and kabuki also have hiden traditions, although

these were generally available to interested p arties. See also GEI-

DAN; WARANBEGUSA; AYAMEGUSA.

HIIKI. Kabuki ‘‘fans,’’ who support actors and theatres. During the

Edo period, large, similarly dressed groups of such patrons went en

masse to the theatre to suppor t their favorite stars, and the show

would often be stopped so that some gift—like a specially designed

cur tain—could be offered to the actor. Their affection was also

expressed through well-timed home kotoba shouted out during the

performance and by rhythmic hand clapping. Banners (nobori) were

hung outside, and gifts (tsumi mono) were piled high there. A large

number of fan-related ceremonial customs evolved. See also RENJU

HIKAE YAGURA. The Edo-period kabuki system of ‘‘alternate man-

agements’’ that came into play when ﬁnancial or legal problems pre-

vented one of the edo sanza from producing. Each of these three

theatres eventually had an alternate management prepared to step in

and run the establishment until the original licensee was back on his

feet. The principal alternate managements were the Kawarasaki-za

(substitute for the Morita-za), the Miyako-za (for the Nakamura-

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HIKINUKI • 113

za),andtheKiri-za (for the Ichimura-za). See also KO

GYO

;

YAGURA.

HIKIDO

GU. A kabuki technique of pulling low, wheeled platforms

with scenic elements on them into position. They move laterally or

up and down stage in view of the audience. A famous example is

when Ako

Castle recedes upstage in Act 4 of Kanadehon Chu

shing-

ura. See also SCENERY.

HIKIGATARI. When a gidayu

bushi chanter accompanies him or her-

self on the shamisen. The practice, which fell out of favor in t he

1880s, was common in the early 17th century; it later became popu-

lar in women’s puppet troupes. See also SUJO

RURI.

HIKIMAKU.The‘‘pull curtain’’ used in bunrakuandkabuki.Akyo

gen-

kata opens it from stage left to stage right, and closes it in the oppo-

site direction, doing so in time to the beating of the hyo

shigi.

Kamigata productions used to follow the opposite dire ctio ns. All

such curtains today are of a single sheet, but there were Kamigata

theatres during the Edo period that used a two-sheet curtain each

sheet of which ran off to its respective side. In the premodern period,

only fully licensed theatres (o

shibai) were entitled to use the hiki-

maku; koshibai and miyaji shibai were forced to use a drop curtain

(doncho

; see DONCHO

YAKUSHA). There are many traditional vari-

ations on the opening and closing of the curtain, depending on the

traditions of speciﬁc plays in the repertory.

The earliest use of the hikimaku dates to 1664 for a Kamigata pro-

duction of the ﬁrst multi-act play (tsuzuki kyo

gen), Hinin Katakiu-

chi. The curtain was presumably used to separate one act from

another. Today’s vertically striped curtains are of green, persimmon,

and black, colors that have come to symbolize bunraku and kabuki,

especially

the

latter. However, Ed o-pe riod thea tres each had the ir

own color schemes, and Kamigata theatres did not even use stripes.

See also JO

SHIKIMAKU; MAKU.

HIKINUKI. A quick-change (hayagawari) effect seen in kabuki shosa-

goto when some change in the character or atmosphere is necessary.

As the actor performs, the kurogo or ko

ken pull basting threads

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114 • HIKISEN

from his specially constructed kimono and, at the right moment, the

costume is whisked off, instantly revealing another one underneath.

It is seen in Musume Do

-ji and Fuji Musume among many other

pieces. See also BUKKAERI.

HIKISEN. The kabuki technique of hanging a curtain from rings placed

over pegs to which a rope is attached. When the rope is pulled, the

pegs leave the pole and the curtain quickly drops. See also FURI-

DAKE.

HIKIWARI. A kabuki scenic technique whereby the scenery moves to

left and right as a new set rises into place on the large, upstage seri

trap.

HIKKOMI. Any important hanamichi ‘‘exit’’ in kabuki, such as that of

the wizard Nikki Danjo

in Meiboku Sendai Hagi; Nikki rises amidst

smoke on the suppon trap, having just been transformed from a rat

into human form; gripping a secret scroll in his mouth, he moves off

as if ﬂoating on air. Because the stage curtain has been closed behind

him, this exit is a maku soto no hikkomi (‘‘outside the curtain exit’’).

Courtesans may exit using the hachimonji style of walking, while

other characters may exit in bounding leaps (roppo

)orbyﬂying

(chu

nori) over the hanamichi into the balcony.

HIKOROKU-ZA. A bunraku theatre that appeared in 1884 as a seri-

ous rival to the Bunraku-za. It ﬁrst performed at Osaka’s Inari

Shrine compound, formerly used by the Bunraku-za. The openi ng

production was not very successful, but the manager lured the great

shamisen player Toyozawa Danpei II away from the Bunraku-za,

which brought great success to the new venture, whose company also

included chanter Takemoto O

sumidayu

III.O

sumidayu

and Dan-

pei became a great combination, and Danpei’s wife, Kako Chika,

wrote the still-performed Tsubosaka Reigenki. The Hikoroku-za’s

brief but intense rivalry with the Bunraku-za was reminiscent of that

between the Toyotake-za and Takemoto-za in the 18th century. But

ﬁres and the successive deaths of the major chanters, combined with

an economic downturn, led to the company’s dissolution in 1893.

The company’s remnants continued to compete, however, under a

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HIO

I • 115

series of names—the Inari-za (1894– 98), the Meiraku-za (1898–

1903), the Horie-za (1904–11), and the Chikamatsu-za (1911–14)—

until it merged in 1914 with the Bunraku-za, leaving only that

company to represent the art.

HINADAN. The two-stepped, red-carpeted ‘‘doll platform’’ placed

upstage for kabuki shosagoto, like Renjishi, in which the nagauta

musicians appear onstage, sitting on their knees in rows facing the

audience and dressed in kamishimo. The shamisen players are on

the upper level at stage left, with the singers to their right. On the

lower level, from stage left, are the ﬂutist (fue), four to eight kotsu-

zumi (see KOTSUZUMI AND O

TSUZUMI) drummers, an o

tsuzumi

drummer, and a taiko drummer. Hinadan is the platform used by

imperial family dolls set up for the annual hina matsuri (‘‘doll fes-

tival’’).

When gidayu

, tokiwazu,andkiyomoto musicians perform

onstag e, th ey use the yamadai (‘‘mountain platform’’), which has

only one step, and is faced with ﬂats (kerikomi) painted to match the

scenery. See also DEBAYASHI; DEGATARI.

HINAWAURI. The ‘‘fuse cord seller’’ who served the needs of pipe

smokers in Edo-period theatres. He had various other functions,

including being a guard, a claquer, and a stagehand.

HININ. The ‘‘non-human’’ or outcast class into which kabuki actors

were placed during the Edo period.

HINOKI BUTAI. The ‘‘cypress-wood stages’’ of kyo

gen and no

Cypress wood also was used in kabuki stage construction. Conse-

quently, the term came to suggest a high-class theatre to perform in

which was a mark of distinction.

HIO

I. An ‘‘awning’’ attached to the front of early kabuki stages when

they still resembled no

theatres and were outdoors. Both the stage

and audience were sheltered by it. A bridge over the stage running

from one side to the other later concealed the awning’s position. The

movable steel bridge now in this place bears the same name.

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116 • HIPPARI

HIPPARI. One usage refers to the ‘‘pulling’’ tension felt by the audi-

ence, a kabuki actor, or a character, especially one ready to commit

suicide; the other is to a dramatic kabuki pose called the hippari no

mie in which several characters connected by the plot assume a well-

balanced tableau as the curtain closes. A famous example concludes

‘‘Terakoya’’ (Sugawara Denju Tenarai Kagami).

HIRAKU. The ‘‘blooming’’ of a no

actor as he trains throughout the

years by progressively playing increasingly challenging roles. Spe-

ciﬁc roles and types of plays are carefully chosen, beginning with

those considered the simplest, so that he will be prepared to play the

most difﬁcult ones at a later stage of his career.

HIRA MONO. A no

play considered relatively easy to perform, in con-

trast to a narai mono.

HIRANORI. In no

music, the fundamental ‘‘regular rhythm’’ most

often used for the chanting (utai)inawasegoto. A verse in shichigo-

cho

meter is chanted within eight beats. It is used for sections of nar-

rative, scenic description, and lyrical expression, and is thus heard

in such modules (sho

dan)asshidai, michiyuki, sageuta, kuse (see

KUSEMAI), rongi, and machi utai.

HITAMEN. The appearance of a no

character without a mask.The

actor uses little or no facial expression so that the face itself assumes

mask-like qualities. Makeup is never worn.

HITATARE. A no

costume made of lined stiff silk or linen with dyed

designs and consisting of a warrior’s ever yday wide-sleeved outer

robe worn with matching hakama or o

guchi. There are cords at the

breast and on the sleeves. A tall eboshi bent to one side is always

worn with it.

HITOTSUGANE. A medium-sized bunraku and kabuki ‘‘gong,’’

struck with a slim mallet. See

also

GEZA; NARI MONO.

HOME KOTOBA. The kabuki custom of shouting out ‘‘words of

praise’’ for the actors during a performance. In the Edo period, actors

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HONGO

-ZA • 117

used to respond verbally to these fans’ (hiiki) comments. Nowadays,

one does not hear these audience comments ver y frequently, and

those who deliver them are mainly specialists. See also KAKEGOE.

HON AME. The use of water (hon mizu) to suggest ‘‘real rain’’ for

realistic effects in kabuki sewa mono. A barrel of water is suspended

over the stage with the water diverted into a pipe with tiny holes. It

is used in koroshiba,asinKanzen Cho

aku Nozoki Garakuri.

HONAN MONO. ‘‘Adapted plays’’ for bunraku and kabuki based on

foreign literature but using ‘‘Japanized’’ characters and locales. They

may also be modern versions of old plays that have been updated

into contemporary terms. Honan mono ﬁrst appeared with Nakamura

Masanao’s adaptation o f S amuel Smile’s 1864 novel Self Help,

dramatized by Sakyo

Tomisaburo

in 1872. In 1879, Kawatake

Mokuami dramatized Fukuchi O

chi’s version of Edward Bulwer-

Lytton’s Money into Ningen Banji Kane no Yo no Naka. The practice

was accelerated by the theatrical reform movement (Engeki Kairyo

Undo

). By the early 20th century, authentic translations (honyaku)

of foreign dramas came into favor, giving rise to the modern theatre

(shingeki) movement.

HON BUTAI. The kabuki ‘‘stage proper,’’ as opposed to the hanam-

ichi.

HONCHO

SHI. The ‘‘fundamental tuning’’ for the shamisen.The

thickest string and the middle string are tuned to a perfect fourth,

while the thinnest string is tuned to a perfect ﬁfth.

HONGO

-ZA. A kabuki theatre, initially known as the Okuda-za, built

in 1873 in Haruki-cho

in Tokyo’s Hongo

district. Its ﬁrst manage-

ment failed and it became the Haruki-za, focusing on Osaka-style

kabuki, but it found it hard to survive although some success came

under the leadership of actor-brothers Kataoka Gado

III (later

Kataoka Nizaemon X) and Kataoka Gato

III (later Kataoka Nizae-

mon

). It burned down in 1890, was rebuilt in 1891, and burned

again in 1898. After being rebuilt again, it became the Hongo

-za in

1902, gaining a reputation for shinpa. In 1903, the shin kabuki

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118 • HON KYO

GEN

Hototogisu premiered here, ushering in the ‘‘Hongo-za period.’’ It

was destroyed in the 1923 earthquake, was rebuilt, became a movie

house by 1930, and was bombed in 1945.

HON KYO

GEN. Kyo

gen plays proper as opposed to aikyo

gen inter-

ludes in no

plays.

HONMAKU. The lifting of the agemaku all the way for the entrance

of characters in no

. See also HANMAKU.

HON MEN. Original no

masks handed down and preserved by the

iemoto of a school of no

from the time of their makers in premodern

years. Many date from the Muromachi period.

HON MIZU. Kabuki’s ‘‘real water’’ convention, especially popular in

natsu kyo

gen for providing a refreshing feeling. Formerly, water was

placed in special troughs (which might even be built into the hanami-

chi) to represent canals, rivers, lakes, or ponds, or for falling rain

(hon ame) but it was more likely for water to appear as an artistic

convention, with blue ground cloths (jigasuri)overstagetrapsor

conventionalized backgrounds showing raindrops. Offstage drum-

beats immediately signaled a storm.

Some effects were combined with quick-c hang es (hayagawari)

whereby the actor would jump into the water only to rise a little later

on the suppon trap with a different appearance. See also KEREN.

HONTE. See TESURI.

HONTSURIGANE. A large bell hung inside a wooden frame and

struck with a padded mallet. It is heard in bunraku and kabuki temple

scenes. See also NARI MONO.

HON YOMI. A prerehearsal ceremony at which a kabuki playwright

gave a ‘‘true reading’’ of his new play. The casting was announced at

this time as well. See also KEIKO.

HORIKOSHI NISO

JI. An Edo kabuki playwright, originally an

actor, who took for his professional name the private surname of

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SHO

RYU

• 119

actor Ichikawa Danju

. He reigned as one of Edo’s best dramatists,

together with Fujimoto Tobun and Kanai Sansho

, from the 1750s

into the 1780s, and wrote around 70 plays, many inﬂuenced by the

rationality of Kamigata drama. From 1769 to 1771, he went into reli-

gious retirement before returning to the stage.

He was a major follower of playwright Tsuuchi Jihei II, whose

style he consolidated in the process of deepening the content of sewa

mono before passing the tradition on to Sakurada Jisuke I.Hewas

the ﬁrst to include a one-act shosagoto as a regular part of the daily

program. His various innovations included stage equipment. How-

ever, his work, apart from Sagi Musume, is no longer produced.

HORI MONO. Also irezumi, the ‘‘tattoos’’ worn by certain lower-class

male characters in bunraku and kabuki. They are often elaborate art

works covering the arms, shoulders, and back. Actors wear special

tight-ﬁtting shirts and shorts to simulate the effect. Characters with

elaborate tattoos include Danshichi in Natsu Matsuri Naniwa Kagami

and Benten Kozo

in Aotozo

shi Hana no Nishiki-e. A small number

of women of the akuba type also have tattoos.

SHO

KURO

(1837–1917). No

actor who debuted at six and

amazed fans by performing in 16 plays during a kanjin no

in 1848,

when he was 12. In 1853, he became the 16th head (so

ke)ofthe

sho

ryu

, taking the name Kuro

. He was one of the few no

masters

to persevere during the period of great uncer tainty following the

Meiji Restoration (1868), when the future of no

was in doubt. In

1877, he and other great no

artists, such as Umewaka Minoru,

per-

formed

for the imperial family, which he would subsequently do on

other occasions. This was a tremendous boost for no

’s wavering pres-

tige and the art began to ﬂourish again. The efforts of Ho

sho

Kuro

Umewaka Minoru, and Sakurama Sajin on behalf of no

’s survival

led to their being considered the three greatest no

artists of the Meiji

period.

A tall, lean actor, with an air of great reﬁnement, he specialized in

the roles of elegant women in such plays as Aoi no Ue, Do

-ji,

Kinuta, Matsukaze, and Teika.

SHO

RYU

. A school of no

shite actors founded by the elder

brother of Kan’ami Kiyotsugu,Ho

sho

Tayu

. He belonged to the

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120 • HUMOR: KYO

GEN

Yamato sarugaku troupe called the Tobi za, which became the Ho

sho

za on the basis of his reputation. During the Muromachi period, the

sho

troupe participated in the takigi no

of Nara’s Ko

fuku-ji Tem-

ple, and the Wakamiya Festival of Kasuga Shrine. During the late

Muromachi period, the troupe was supported by Ho

daimyo

Odawara. During the Edo era, the troupe was the favorite of the ﬁfth

Tokugawa shogun, Tsunayoshi, who made the musicians of the other

troupes join the Ho

sho

. During this time, the Kaga clan patronized

the troupe as well. Since the 11th Tokugawa shogun, Ienari, also

favored it, the Ho

sho

became especially strong in the late Edo period,

and, in 1848, the troupe leader Tomoyuki gave a famous kanjin no

performance in Edo. It has maintained its power behind the Kanze

ryu

as the second most powerful school in Tokyo and the Hokuriku

regions until today.

There is also a Ho

sho

ryu

of waki actors known as the shimogakari

sho

ryu

HUMOR: KYO

GEN. No

plays eschew humor, which is the provenance

of kyo

gen, whose appearance on a no

program provides comic

relief. Some kyo

gen aim for outright laughter, others for a less overt

feeling of amusement that—even when the primary tone is tragi-

comic—is nevertheless much lighter in spirit than most no

plays.

Some plays project a sense of auspicious happiness, others an atmo-

sphere of harmony and good will. Although there is the occasional

threat of danger to a character, the plays include no villains, and—

with one or two exceptions, such as Tsukimi Zato

—those who might

have caused harm come to see the error of their ways or are revealed

as harmless rascals. A frequent important lubricant to amusing

behavior is the attempt of servants to get forbidden sake; even funnier

is their behavior when they get drunk. They may get their comeup-

pance by being scolded and chased, but no one ever suffers physical

harm and it is obvious that even if the master catches them he will

ultimately forgive them. The inclusion of spirited song and dance in

many plays is another sign of good humor, just as is the use of double

entendres that cause great confusion when someone misunderstands

the meaning of a word or phrase. See also LANGUAGE.

ompous

characters—such as puffed-up feudal lords who pretend

to more power than they have—are made to seem silly, and arrogant

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