Leiter S.L. Historical Dictionary of Japanese Traditional Theatre
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IROE • 131
INORI. ‘‘Exor cism ,’’ e xcit ing hatarakigoto sequences in no
ˆ
during
which the waki, a priest using rosary beads, attempts to exorcise the
evil spirit of a jealous woman, as the characters move back and forth
and onto the hashigakari. Examples are in Adachigahara and Do
ˆ
jo
ˆ
-
ji. See also MAIGOTO.
INOUE HARIMA NO JO
ˆ
(1632–85). A ko jo
ˆ
ruri chanter responsi-
ble f or reviving Osaka jo
ˆ
ruri. He was a manufacturer o f bamboo
blinds for the Imperial Palace in Kyoto but, blessed with a beautiful
voice, studied no
ˆ
utai. He studied jo
ˆ
ruri with Gendayu
ˆ
, a disciple of
Edo’s Satsuma Jo
ˆ
un, when Gendayuˆ moved to Kyoto, and began his
own school, changing the six-par t structure of jo
ˆ
ruri (see DRA-
MATIC STRUCTURE: BUNRAKU AND KABUKI) to five, and set-
ting up a theatre in Osaka’s Do
ˆ
tonbori district in the 1660s. He
abandoned kinpira jo
ˆ
ruri to sing popular songs of the time, and
eventually created an independent narrative style. He performed both
the gentle, lyrical tunes associated with michiyuki and dance scenes
(keigoto) and the rougher melodies of kinpira battle scenes, his
method—harima ji, harima bushi,orharima ryu
ˆ
—being considered
a blend of the two styles. He was given the honorific name Harima
no jo
ˆ
. He died in the midst of a performance. Takemoto Gidayu
ˆ
was
strongly influenced by Harima no jo
ˆ
’s
style.
IPPON
GUMA. Also ippon suji,akumadori using a thick, ‘‘single
line’’ of black and red extending from the temples to the cheeks. It
belongs to the sujiguma subdivision and is worn in aragoto roles like
Wato
ˆ
nai in Kokusenya Kassen. See also MAKEUP.
IRO. Those sections of a bunraku gidayu
ˆ
bushi performance that are
half sung and half spoken, in contrast to the ji and kotoba sections.
According to Kimi Coaldrake, ‘‘the text is presented in a delivery
style similar to that of kotoba dialogue but includes shamisen so that
the relatio nshi p bet ween voice a nd shamisen may be d escr ibed as
neutral’’ (1997, 91). See also JI-IRO.
IROE. ‘‘Color dance,’’ a brief, slow, abstract mai dance in no
ˆ
, meant
to provide atmosphere. Also considered a hatarakigoto,itaddsa
touch of graceful refinement to living female roles, mainly in san-
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132 • IROE MONO
banme mono like Genji Kuyo
ˆ
and yobanme mono like Sakuragawa;
it is also performed by Shizuka in Funa Benkei (usually considered
a gobanme mono). See also MAIGOTO.
IROE MONO. A subdivision of the sanbanme mono (‘‘third-group
plays’’) no
ˆ
category containing one play in which there is an iroe
dance: Genji Kuyo
ˆ
(4). The Arabic number indicates the other cate-
gory to which the play may be assigned. See also DAISHO
ˆ
CHU
ˆ
NO
MAI; DAISHO
ˆ
JO NO MAI; MAINASHI MONO; TAIKO CHU
ˆ
NO
MAI MONO; TAIKO JO NO MAI.
IROIRI. No
ˆ
costumes with some degree of red (beni) in them, meaning
that they are ‘‘with color.’’ Red suggests a female character’s youth-
fulness. See also IRONASHI.
IROKO. One of many Edo-period terms for adolescent actors between
the koyaku and adult stages, who also worked as prostitutes. It means
‘‘color boy,’’ iro being commonly used in reference to sexuality.
Kabuki had a long history of association with homosexuality, and
fans of both genders were attracted not only by the young actors’
skill but also by their sex appeal. Assignations with such actors were
often arranged at nearby shibai jaya.
IRONASHI. No
ˆ
costumes in which there is no red (beni), a sign that a
female character is not young. See also IROIRI.
ISHINAGE NO MIE. The ‘‘stone-throwing mie’’ seen in aragoto
plays. The actor can perform it standing with legs together or with
one knee on the ground. At the conclusion, his right hand is held
overhead, fingers spread as if an object has just been thrown. Benkei
in Kanjincho
ˆ
performs it.
ISSEI. ‘‘One voice,’’ solemn musical prelude played by the fue, kotsu-
zumi,a
n
do
ˆ
tsuzumi for entrances in no
ˆ
plays to prepare for the
entrance of the shite in the play’s first or second part. Also, a kind of
high-pitched song in noncongruent rhythm following the issei music;
it may introduce a mai segment. The shite and tsure or the shite and
jiutai may share it.
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IWAI HANSHIRO
ˆ
• 133
ITCHO
ˆ
. ‘‘One tune,’’ a concert recital of no
ˆ
by any one of the form’s
three drummers and a single chanter (see UTAI) of a briefer selection
than that performed in an ibayashi. The drummer’s solo performance
is dokko (‘‘solo drum’’). Because the purpose is to display the drum-
mer’s technique, he may play a more complex pattern than in a nor-
mal performance. Selections often come from Yashima, Matsumushi,
or Youchi Soga. See also MUSIC: NO
ˆ
.
ITCHO
ˆ
IKKAN. ‘‘One tune, one flute,’’ a variation of itcho
ˆ
in which
the fue is accompanied by the kotsuzumi (see KOTSUZUMI AND
O
ˆ
TSUZUMI)ortaiko, or in which both the fue and utai accompany
an itcho
ˆ
performance. See also MUSIC: NO
ˆ
.
ITCHU
ˆ
BUSHI. Atypeofjo
ˆ
ruri founded by Miyakodayu
ˆ
Itchu
ˆ
I
(1650–1724) in Kamigata during the late 17th century. Performed
at first at private gatherings, it was introduced to kabuki in 1707 and
later became popular in Edo. By the 19th century, it was heard
mainly at parties and not in the theatre. It can still be heard in plays
such as Shin Usuyuki Monogatari.
ITO
ˆ
KODAYU
ˆ
. Four generations of kabuki actors. The first two are
sometimes confused with one another. Kodayuˆ II (?–1689) was an
important early onnagata who began in Kamigata,
moved to Edo in
1661—where
he acted as Onnagata Kodayuˆ—and became Ito
Kodayu
ˆ
II around 1668. He went back and forth between Kyoto and
Edo with some frequency. Famed for his beauty, he established the
mode for playing courtesans and was outstanding in scenes of grief.
He created a purple-dappled, tie-dyed clo th ca lled kodayu
ˆ
kanoko
that was all the rage among Edo’s women.
IWAI HANSHIRO
ˆ
. Ten generations of kabuki actors. Yago
ˆ
Yamatoya.
Hanshiro
ˆ
I (1652–99) was a Kamigata actor who took the name in
1685 when he was one of Osaka’s leading tachiyaku.Heranthe
Iwai-za from 1689 to 1698. His line prospered in Osaka through Han-
shiro
ˆ
III, the Iwai-za’s last zamoto.
Hanshiro
ˆ
IV (1747–1800), the first great actor in the line, became
Hanshiro
ˆ
IV in 1765. He performed mainly in Edo where, from 1764
to 1800, he and Segawa Kikunojo
ˆ
III were the top onnagata, his
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134 • IZUMI RYU
ˆ
acclaim being particularly for realistic townswomen roles, especially
after he introduced the first akuba character in 1792. (See also
DOFUKU MONO.) His versatility, though, extended to aragoto.
Hanshiro
ˆ
V (1776–1847), son of Hanshiro
ˆ
IV, became Hanshiro
ˆ
V
in 1804. In 1822, this beautiful star (called senryo
ˆ
yakusha [‘‘actor
with the 1,000-ryo
ˆ
eyes’’]) was tate onnagata at the Ichimura-za,
his two sons having similar standing at the Nakamura-za and Mori-
ta-za. In 1833, he became Iwai Tojaku I, so his eldest son could
become Hanshiro
ˆ
VI but he and his brother died not long after, which
led Hanshiro
ˆ
IV to retire.
Hanshiro
ˆ
VIII (1829–82), son of Iwai Hanshiro
ˆ
VII, was a leading
onnagata of great beauty and took the name in 1872.
Hanshiro
ˆ
X (1927–), son of dance master Hanayagi Jutaro
ˆ
I, took
the name in 1951 and is active chiefly in supporting roles.
IZUMI RYU
ˆ
. One of the two principal schools of kyo
ˆ
gen, the other
being the O
ˆ
kura ryu
ˆ
. It was founded during the late 15th century by
Sasaki Gakurakuken (?–?) of Sakamoto, O
ˆ
mi Province, but not much
is known about the first six generations. It was formally established
as a school by the seventh head, Yamawaki Izumi Motoyoshi (?–
1659), who established his za in his home town of Torikae, Sesshu
ˆ
Province. His performances, known as torikae sarugaku, came to be
patronized by the imperial court in Kyoto as well as by the city’s
business class. In 1614, this popular actor was invited to perform by
Tokugawa Yoshinao, head of the Owari clan, and he thereafter
became active in Owari, Kyoto, and Edo. During his time, the kyo
ˆ
gen
actors headed by those in the Nomura Matasaburo
ˆ
and Miyake
To
ˆ
kuro
ˆ
lines came under his purview; also falling under the Izumi
umbrella was the family led by actors named Nomura Manzo
ˆ
, which
was a disciple (deshi)
family of the Nomura Matasaburo
ˆ
family.
In
contrast to the O
ˆ
kura ryu
ˆ
and Sagi ryu
ˆ
, which were patronized
by the shogunate, the Izumi was under the protection of the imperial
court. During the Meiji period, important officials such as Iwakura
Tomomi invited the troupe led by Miyake Sho
ˆ
ichi Motonobu (1824–
85) to move to Tokyo from Kanazawa. Afterward, r elated troupes
arrived from Kumamoto and Nagoya. With the demise of the Sagi
ryu
ˆ
at this time, the Izumi and the O
ˆ
kura divided the world of kyo
ˆ
gen
between them.
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JARI NO ITO • 135
There are now about 20 Izumi ryu
ˆ
actors. The 19th head of the
school, in Tokyo, is Izumi Motohide (1937–); other important actors
belong to the Nomura Manzo
ˆ
family and the Miyake To
ˆ
kuro
ˆ
family.
There are also branch families in Nagoya and Kanazawa.
IZUMO NO OKUNI. The legendary founder of kabuki, about whom
the records are vague or inconsistent. She is commonly believed to
have ser ved as a priestess (miko) at Izumo’s major temple b efore
heading a troupe of itinerant entertainers who did folk dances in reli-
gious institutions and noblemen’s homes throughout Japan. In 1603,
she and her troupe performed their version of the nenbutsu odori
(see FURYU
ˆ
) in the dry bed of Kyoto’s Kamo River. She moved to
Edo in 1607, even dancing for the shogun in Edo Castle. With the
help of kyo
ˆ
gen actors, she presented vulgarized versions of kyo
ˆ
gen,
sometimes acting as a male visitor to a teahouse waitress-prostitute,
after which kabuki plots maintained a close relationship to stories of
the licensed quar ters. Her alleged romance with the late kabuki
mono Nagoya Sanzaburo
ˆ
was exploited by having his ghost enter
from the audience and dance with her, and presenting scenes from
his life, often with erotic overtones.
Because Okuni dressed in eccentric ensembles mixing Portuguese
pants with foreign hats, long swords, and both a crucifix and rosary
around her neck, she was considered one of the anti-establishment
kabuki mono of the day, the word kabuki being derived from the verb
kabuku (‘‘to incline,’’ implying ‘‘offbeat’’). Thus, her performances
were kabuki odori (‘‘kabuki dance’’). Her popularity gave rise to
rivals called onna kabuki and yu
ˆ
jo kabuki.
J
JANOME MAWASHI. The ‘‘snake-eye revolve’’ using two revolving
stages (mawari butai), one inside the other, capable of moving in
opposite directions and at different speeds. It was invented for kabuki
in 1827 at the Ichimura-za. Eventually, it fell out of use.
JARI NO ITO. The suspension of small kabuki properties by using
black cotton or silk threads (ito) meant to be invisible. Examples are
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136 • JI
cloud cutouts hung from the grid, and the splash effect used when
something is dropped into water. See also SHIKAKE.
JI. Also ji ai, the melodic delivery of lines accompanied by the shami-
sen in gidayu
ˆ
bushi. Also, while the kotoba sections are in the ‘‘first
person,’’ ji are the ‘‘third person’’ narrative parts. In no
ˆ
, it is synony-
mous with jiutai.Inkabuki, it also refers to ‘‘grounded,’’ realistic
acting. See also JIGEI.
In no
ˆ
, ji has several meanings: the abbreviation for the no
ˆ
jiutai
and the words it chants; the repetition of fue passages; and, finally,
the basic arrangement of no
ˆ
music.
JIBYO
ˆ
SHI. A ‘‘ground beat’’ in no
ˆ
music providing a regular beat for
the chanting (utai) of irregular verses.
JIDAI MONO. Also jidai kyo
ˆ
gen, bunraku and kabuki ‘‘history dra-
mas’’ set in the middle ages or earlier, before the Edo period. They
take place in the ‘‘age of the gods’’ (shinyo
ˆ
)orduringtheNara,
Heian, Kamakura, or Muromachi periods, the most common being
the Heian, during the wars between the Taira (Heike) and Genji
(Minamoto) clans, as in Ichinotani Futaba Gunki, O
ˆ
shu
ˆ
Adachiga-
hara,andYoshitsune Senbon Zakura. Those plays taking place
among the nobility of the pre-Heian age are called o
ˆ
jidaikyo
ˆ
gen, o
ˆ
dai
mono,oro
ˆ
cho mono, which all suggest plays set in a ‘‘grand period’’
of
the
distant past before the rise of the warrior class. Examples
include Imoseyama Onna Teikin and Hade Kurabe Ise Monogatari.
Although these plays are mainly about warriors and nobles, farmers
and townsmen may appear in so-called sewa-ba (‘‘domestic
scenes’’).
During the Edo period, it was forbidden to directly dramatize
events related to government affairs, so the playwrights disguised the
period by moving it to the centuries before the Tokugawa shogunate,
altering the characters’ names (for example, O
ˆ
ishi Kuranosuke
became O
ˆ
boshi Yuranosuke) and making contemporary events seem
like historical ones. Famous examples are Kanadehon Chu
ˆ
shingura
and Igagoe Do
ˆ
chu
ˆ
Sugoroku. In fact, most history plays of the Edo
era are actually more about the contemporary world and politics than
they are about the historical events shown on the stage.
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JIDAI-SEWA MONO • 137
Jidai mono made their first important advances in the plays of Chi-
kamatsu Monzaemon,suchasKokusenya Kassen. His erudition
allowed him to abandon the hitherto f antastical and m ythological
subjects of historical plays while remaining close enough to t heir
sources to provide audiences with a major aid in learning about Japa-
nese history. As is often true of Shakespeare, though, the plays were
not ver y accurate historically and favored theatrical situations and
characters over truthful historical representation. Like Shakespeare’s
history plays, they have multiple plots and pay little regard to the
unities of time, place, and action. The katsureki mono created in the
late 19th century attempted to rectify this by the use of both histori-
cally accurate information and authentic costuming an d b eh avio r,
but the plays lacked the theatrical excitement of their predecessors.
Since far more jidai mono were written for the puppets than sewa
mono, these typically five-act plays were the lifeblood of bunraku
(see DRAMATIC STRUCTURE: BUNRAKU). Each facet of the
writing and production was more exaggerated, formalized, and
stylized than the real isti c sewa mono. Jidai mono emphasized the
samurai feudal code, in which filial obliga tion, l oyal ty, a nd sacr i-
fice—even at the cost of one’s own life or that of loved ones (see
GIRI; NINJO
ˆ
)—for the sake of one’s master, were highly privileged
elements. These principles help create powerful dramatic conflicts.
Often, the inciting incident is the theft or loss of an heirloom belong-
ing to the clan or to the master’s family, an item viewed as symbolic
of samurai honor. The need of the samurai responsible for safekeep-
ing the object to find it leads to dramatic complications, and tragic
events transpire as a result.
The acting in jidai mono is much more formalized than in sewa
mono and actors are criticized if their jidai mono acting has too casu-
ally realistic a quality. See also ICHIBANME MONO; JIDAI-SEWA
MONO;KO
ˆ
GYO
ˆ
; MIGAWARI MONO; OIE KYO
ˆ
GEN; PLAY CAT-
EGORIES: BUNRAKU AND KABUKI; SEPPUKU.
JIDAI-SEWA MONO. A kabuki genre combining qualities of jidai
mono and sewa mono. Examples include Aotozo
ˆ
shi Hana no Nishi-
ki-e and Soga Moyo
ˆ
Tateshi no Goshozome. See also NAIMAZE;
PLAY CATEGORIES: BUNRAKU AND KABUKI.
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138 • JIGASHIRA
JIGASHIRA. The leader of the no
ˆ
jiutai, who controls the complex
rhythms and intervals.
JIGASURI. Dorogire in Kamigata, a ‘‘ground cloth’’ used to suggest
a particular effect, such as water or snow. It may also be spread on
the hanamichi. Its colors include gray, yellow, brown, stone, and so
on, depending on what is being represented. Indoor cloths may depict
wooden floorboards. The snow cloth is yuki nuno, that representing
seawater waves is nami nuno, that for rivers and lake water is mizu
nuno. The stage assistants may dress in similarly colored garments
to help them blend in with the ground cloths. See also SCENERY.
JIGEI. Standard kabuki acting, as opposed to dancing, which evolved
in the mid-17th century when the dance-oriented early kabuki was
forced to develop plays based on realistic human behavior. Synony-
mous words are ji and jigoto; kabuki plays adapted from bunraku and
employing jigei are sometimes called ji mono.
JIGOTO. The dramatic sections of jo
ˆ
ruri scripts, which predominate,
as opposed to the sung parts (fushigoto). They are considered the
‘‘rapids’’ of the script in contrast t o the ‘‘pools’’ of fushigoto.In
kabuki, the word also means realistic acting. See also JIGEI.
JI-IRO. A gidayu
ˆ
bushi technique that lies somewhere between ji and
kotoba. As the shamisen plays in a special timing, the chanter reads
the text in a kind of semi-musical manner. Kimi Coaldrake says, ‘‘it
is less melodic than ji, with the rhythms associated with speech, and
overall it is more melodic than iro’’ (1997, 100).
JIKATA. The ‘‘seated musical accompanists’’ in kabuki who perform
for the standing dancer (tachikata). See also KAKEAI.
JI KYO
ˆ
GEN. Also ji
shibai, ka
buki performances given by amateur
regional groups, mainly for brief runs at local festivals. Many village
shrines have old or restored shrine stages that capture the feeling of
early kabuki, including seating on the ground in outdoor settings.
JITSUKAWA ENJAKU. Three generations of kabuki actors. Yago
ˆ
Kawauchiya. Enjaku I (1831–85), founder of this Osaka line,
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JIUTAI • 139
debuted in 1838 and, after a peripatetic career and various name
changes, took his final name in 1863. He was a versatile actor of vari-
ous tachiyaku role types, but was especially admired in wagoto.
Enjaku II (1877–1951), son of Enjaku I, divided his time between
Osaka and Tokyo, and became Enjaku II in 1915. Along with his
frequent costar, Nakamura Ganjiro
ˆ
I, he was one of the two leading
Kamigata stars of his time, being outstanding in wagoto.
Enjaku III (1921–91), son of Enjaku II, was one of the great post-
war stars. He began as an onnagata but eventually excelled in tachiy-
aku. He starred in Takechi Kabuki in the early 1950s, and became
an outstanding dancer, a hayagawari and keren specialist, and pre-
server of endangered Osaka traditions.
JITSUROKU MONO. Literary and dramatic ‘‘true records’’ of the
Meiji period loosely based on contemporar y events of the Edo
period, much of it based on 18th-century jitsuroku hon (‘‘true record
books’’) and ko
ˆ
dan about legal trials. One famous source concerns
the decisions of the wise Edo judge, Lord O
ˆ
oka of Echizen. Plays
derived from such material concern trials, conflict within major sam-
urai families, revenge, bandit adventures (see SHIRANAMI MONO),
and otokodate. The plays were admired for reflecting the rationalism
of the new age.
The fashion for such works began in 1874 with a play best known
for its 1881 revision, Youchi Soga Kariba no Akebono (see SOGA
MONO). Other important examples included Kumo ni Mago
ˆ
Ueno
no Hatsuhana. Such works led to the rewriting of classical plays to
make them more historically acceptable, often with the word jitsuro-
ku preceding the original title, as in Jitsuroku Sendai Hagi.
JIUTA. ‘‘Place song,’’ a singing style sometimes heard in kabuki and
originally meaning Kyoto shamisen music as opposed to Edo shami-
sen music. Thus, jiuta implied by its name the regional quality of the
music. At first accompanied only by the shamisen (called sangen by
jiuta musicians), the koto, kokyu
ˆ
, and shakuhachi were later added.
It developed from an accompaniment for singing to an alteration of
singing with instrumental music. See also GEZA.
JIUTAI. Also
ji,
the no
ˆ
‘
‘chorus,’’ which enters at the start of the per-
formance from the low kirido guchi upstage left, and sits on its
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140 • JIUTAIZA
knees, fans placed neatly before it, on the jiutaiza at stage left in two
rows of (usually) four chanters each. Each chanter wears a montsuki,
kataginu, and hakama. All are shite. Unlike a Greek chorus, the jiu-
tai is not a separate character, nor does it offer any personal insights
into the characters or action. Instead, it is an objective entity that
chants (see UTAI)—in verse or prose, and always in unison—the
thoughts or words of the character (generally the shite but, in the sec-
ond act, the waki as well), and provides some descriptive information
regarding the scenery. The chorus is headed by the jigashira.
When the jiutai appears in kyo
ˆ
gen it includes three to five chanters
and does not occupy the same space as the no
ˆ
jiutai, but sits upstage
in the atoza, behind the musicians, facing front.
JIUTAIZA. The narrow, three-foot wide extension of the main acting
space on a no
ˆ
stage,wherethejiutai sits in two rows. The area
behind it serves as audience space—the jiura—in the rare cases when
spectators surround the stage on three sides, which is not the case in
indoor examples.
JO. Notation in a jo
ˆ
ruri script to indicate the slow ‘‘prelude’’ or open-
ing song. The term derives from the no
ˆ
concept of jo-ha-kyu
ˆ
. See
also GIDAYU
ˆ
BUSHI.
JOBIRAKI. During the Edo period, a standard day’s kabuki program
began with the ceremonial Sanbaso
ˆ
and waki kyo
ˆ
gen, followed by
this brief, humorous, one-act ‘‘curtain raiser,’’ unrelated to the day’s
main play and dealing with things like a spirit’s appearance or a
struggle for treasure. It was a practice piece for minarai sakusha and
actors. The futateme followed. See also KO
ˆ
GYO
ˆ
.
JO-HA-KYU
ˆ
. Usually
t
ranslated as ‘‘introduction, development, and
conclusion’’—other renderings include exposition, development, and
recapitulation; introduction, breaking, and rapid; introduction, expo-
sition, and denouement, etc.—jo-ha-kyu
ˆ
is the essential rhythmic
component of no
ˆ
performance. Established by Zeami in his secret
writings (hiden), and originating in ancient bugaku cour t dances
imported from China in the Heian period, it refers both to the tempo
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