Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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JO-HA-KYU

• 141

of a play and to the sequential organization of a ﬁve-play no

pro-

gram (programs today are much shorter, though).

In a standard play’s go-dan (‘‘ﬁve-scene’’) dramatic structure,

the ﬁrst act (maeba) of many two-act plays begins with the jo dan

(‘‘introductory scene’’), proceeds to three ha dan (‘‘developmental

scenes’’), and ends in the second art (nochiba) with a kyu

dan (‘‘con-

clusion’’ or ‘‘climactic scene’’) in which the nochijite (see SHITE)

says who he or she really is and performs a dance. Thus, in Izutsu,

we have the jo in which the waki enters and chants his nanori (see

also YO

KYOKU); the ﬁrst ha, which presents the shite’s entrance and

solo chant; the second ha, which extends from the mondo

between

waki and shite to the kuse; the third ha, which presents the scene

from the rongi to the nakairi (see AIKYO

GEN); and the kyu

, which

runs from the waki’s machi utai to the end.

The dan may themselves be subdivided into smaller discrete units

with, for example, one sequence of movements fulﬁlling the require-

ments of jo-ha-kyu

before segueing into another.

Plays are often categorized according to which rhythmic compo-

nent they represent. Zeami’s Kakyo

discusses the organization of a

program according to jo-ha-kyu

. Brieﬂy, jo plays are relatively slow

and simple and of a congratulatory nature. These are the hatsubanme

mono. Ha pla

ys, the centerpieces of a program, ‘‘break’’ the jo mood,

ve a leisurely tempo, include monomane, and have plots and stag-

ing more complex than those of jo plays. There are three in a ﬁve-

play program, the nibanme mono,thesanbanme mono,andthe

yobanme mono. Kyu

plays—the gobanme mono—are climactic,

having a quicker tempo, powerful moves, and lively dancing. Zeami

insisted on there being no more than one kyu

play—or one performed

in kyu

style—no matter how many plays a program had (in his day,

the number was not ﬁxed). Although ﬁve-play programs are now

rare, even shorter programs must be based on jo-ha-kyu

So essential is the jo-ha-kyu

concept, that even the no

stage has

been described as contributing to it, with the area closest to the

agemaku on the hashigakari being the jo, the middle of the hashiga-

kari being the ha, and that closest to the stage being the kyu

, while

the stage proper is conceived as being divided into three strips run-

ning from left to right with jo the upstage strip, ha the center strip,

and kyu

the downstage strip.

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142 • JO

MEN

Jo-ha-kyu

also has inﬂuenced other classical performing arts.

MEN. Also ro

, ‘‘old men’’ no

masks seen on aged characters and

on certain deities and spirits of dead warriors. These masks all have

a small beard attached at the chin or mouth. The ko-jo

(‘‘small old

man’’), with its severe expression, is worn by deities in human form,

such as the male tree deity in Takasago. Characters, such as Yoshi-

tsune in Yashima, that ﬁrst appear as rustic old men and reappear as

the samurai spirits often wear th e asakura-jo

and sanko-jo

. These

have hair for mustaches and gently smiling mouths revealing two

rows of teeth. The warai-jo

(‘‘laughing old man’’), named for its gen-

tle smile, is worn by the spirit of the old cormorant ﬁsher in the ﬁrst

part of Ukai and the old man who turns out to be a demon in Nomori.

The shiwa-jo

(‘‘wrinkled old man’’) is seen on the spirits in Saigyo

Zakura and Yugyo

Yanagi; the ishio

-jo

(based on a name) is worn by

the angry deity in Haku Rakuten; and the aku-jo

(‘‘wicked old man’’)

by the angry ghost of the gardener in Koi no Omoni.

JO NO MAI. ‘‘Slow dance,’’ a quiet, elegant mai dance in no

of female

ghosts (as in Izutsu and Eguchi), female angels and deities (Hagoro-

mo, Kazuraki), and the spirits of ﬂora (Kakitsubata, Saigyo

Zakura).

See also MAIGOTO.

RURI. Any one of a number of musical narrative forms performed

with the shamisen and used as theatrical accompaniment (as in bun-

raku and kabuki)

on their own as concert performances (sujo

ruri).

It is often used as a synonym for bunraku, where it also refers to

the musical style of gidayu

bushi, which came to prominence when

Takemoto Gidayu

performed Chikamatsu Monzaemon’s Shusse

Kagekiyo in 1686. The many prior schools are called ko jo

ruri.

Although it usually now refers to gidayu

bushi or such kabuki styles

as tokiwazu and kiyomoto, jo

ruri can be applied to various other nar-

rative musical genres as well, whether or not ever (or still) used in

the theatre. The term katari mono covers narrative musical forms,

including those like heikyoku, that do not use the shamisen.

ruri derives from a mid-15th-centur y work known by several

titles but most widely as Jo

ruri Ju

nidan So

shi (The Tale of Princess

ruri in 12 Episodes), the love story of Princess Jo

ruri, a Mikawa

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RURI NADAI • 143

arrow maker’s daughter, and Ushiwakamaru (Yoshitsune), taken

from the medieval war chronicle, Heike Monogatari (see LITER-

ARY SOURCES), about the monumental conﬂict between the Heike

(Taira) and Genji (Minamoto) c lans , who se st orie s and charac te rs

provide so much of the background to all forms of classical Japanese

drama. Like that chronicle, it was a narrative performed in heikyoku

style. Performances remained extremely popular for over a century,

although they emphasized romance over drama. By the late 16th cen-

tury, other narrative material was also performed in this manner and

the genre came to be called jo

ruri. It appealed to the average towns-

man because its music drew from previous styles, but did so to create

a totally new effect, while its contents related to daily life in a

refreshingly new way. Perhaps, most impor tant, though, was the

introduction of the shamisen around the turn of the 17th century. The

fusion of jo

ruri and the shamisen—joined to the art of the puppe-

teer—created what evolved into bunraku. A 1600 Kyoto perform-

ance in which ebisu kaki puppets shared the bill with jo

ruri, and a

1614 performance in which the emperor was enthralled by a jo

ruri

performance of a bill featuring The Tale of Princess Jo

ruri and two

other early puppet plays, Amida no Munewari and Go-o

no Hime,

were instrumental in accelerating the process.

In the 18th century, a number of jo

ruri schools emerged in Edo,

including handayu

bushi and geki bushi, which led to kato

bushi.In

Kamigata, there were itchu

bushi and bungo bushi, which trans-

ferred to Edo where splinter styles like shinnai bushi, tokiwazu, tomi-

moto, and kiyomoto were born. Many of the early jo

ruri plays were

constructed in six acts, but ﬁve acts (three for sewa mono) later

became the rule. See also DRAMATIC STRUCTURE: BUNRAKU

AND KABUKI; JO

RURI

BURE

; JO

RURI NADAI.

RURI BURE. ‘‘Jo

ruri announcement,’’ a kabuki convention in

which the backstage functionary known as to

dori enters prior to a

shosagoto using a jo

ruri accompaniment to formally announce its

title (jo

ruri nadai) and the names of the chanters and shamisen

players.

RURI NADAI. ‘‘Jo

ruri title,’’ Edo-period term for the title (nadai)

of the narrative-based shosagoto performed on a day’s kabuki pro-

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144 • JO

SHIKI

gram in the nakamaku or kiri kyo

gen positions. An example is

‘‘Michiyuki Tabiji no Hanamuko,’’ known as the Act 4 michiyuki of

Kanadehon Chu

shingura.

SHIKI. In one spelling, the thin straw matting used in kabuki to sim-

ulate tatami mats in the homes of important persons. Sometimes, the

matting extends down the hanamichi.

Another spelling points to standardized bunraku and kabuki pro-

duction techniques, as in jo

shiki maku, jo

shiki o

gu, etc.

SHIKI MAKU. Bunraku and kabuki’s ‘‘standardized curtain,’’ now

best known as the striped hikimaku. See also JO

SHIKI; MAKU.

SHIKI O

GU. Also jo

shiki mono, the ‘‘standardized scenery

units’’ of bunraku and kabuki. They include platforms, pillars, tran-

som works, banisters, railings, stairs, sliding doors and screens,

fences, entranceways, stone lanterns, wells, trees, shrubbery, tree

stumps, folding stools, pilings, rain barrels, perspective drops, watch-

towers, pine board backdrops, certain curtains, step units, torii gates,

wash bowls, and shrine fences. (See also HINADAN; KIDO

; NIJU

Most of these items are used in more than one play, the differences

being in minor details. See also JO

SHIKI.

SHIKI SEN. The imaginary ‘‘standardized line’’ joining a kabuki

stage’s left and right pillars (daijin

bashira)

and considered the

downstage limit of the setting. See also JO

SHIKI.

JUBAN. An undergarment or under-kimono worn by male and female

characters in kabuki and bunraku. See also COSTUMES: BUN-

RAKU; COSTUMES: KABUKI.

NIHITOE. ‘‘Twelve-layer kimono,’’ a kabuki interpretation of

Heian-period multilayered cour t women’s cl othi ng , whe n wearers

competed with one another to create the most striking effects by the

way their colors were coordinated at the places where the robes over-

lapped. One or more jackets are worn over the ju

nihitoe and trailing

red hakama are worn as well. See also COSTUMES: KABUKI.

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KABUKI JU

HACHIBAN • 145

JUN KABUKI. ‘‘Pure kabuki’’ plays that were not adapted from other

genres. Examples include Ise Ondo Koi no Netaba, Aotozo

shi Hana

no Nishiki-e, and Sukeroku Yukari no Edo Zakura. See also PLAY

CATEGORIES: BUNRAKU AND KABUKI.

JUN WAKI NO

MONO. ‘‘Quasi waki no

plays,’’ a subdivision of the

yobanme mono (‘‘fourth-group plays’’) no

category. The plays fea-

ture the appearance of gods and goddesses performing benevolent

deeds for human beings, which makes them resemble the auspicious

plays of the hatsubanme mono category. Arido

shi (1), Kan’yokyu

(1,

5), Makiginu (1, 3), Miwa (1, 3, 4), Murogimi (1, 3, 5), Tatsuta (1, 3,

4, 5), Uchito Mo

de (1), Ugetsu (1, 3, 5), and Uroko Gata (1). Num-

bers in parentheses indicate other no

groupings into which these

plays are sometimes placed. See also GENZAI MONO; NESSHIN-

REI MONO; MONOGURUI MONO; NINJO

MONO; YU

KYO-

GAKU MONO.

KABUKI JU

HACHIBAN. The ‘‘18 Kabuki Pl ays’’ colle ctio n estab-

lished in 1840 by Ichikawa Danju

VII to reﬂect his and his prede-

cessors’ representative pieces. It was the ﬁrst such kabuki collection,

and

led

to a number of others in later years. (See IE NO GEI.) Danj-

felt that he had to remind the theatre world of his family’s posi-

tion as Edo’s leading actors, especially for their contributions to the

creation and development of aragoto, which had about it both an

artistic and spiritual aura. The collection had the authority of artistic

‘‘secret writings’’ (hiden), closely associated with other arts, includ-

ing no

. He began the process with a preliminary collection created in

1832, using the number 18 because it also conveyed the meaning of

‘‘many’’ or a group of representative selections. The ﬁnal collection

was ofﬁcially announced with the premiere of Kanjincho

, a new play

featuring Benkei, a character that had been acted by Danjuro I and II

in other plays although Danjuro VII introduced it as though Kanjin-

cho

was the result of his reconstruction of his ancestors’ lost produc-

tions.

The collection consists of Fudo, Fuwa, Gedatsu, Jayanagi, Kageki-

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146 • KABUKI MONO

yo, Kamahige, Kanjincho

, Kan-u, Kenuki, Nanatsumen, Narukami,

Oshimodoshi, Shibaraku, Sukeroku Yukari no Edo Zakura, Uiro

-uri,

Uwanari, Yanone, and Zo

hiki.

The kabuki ju

hachiban is dominated by aragoto plays but other

styles are included as well. A number of selections are not so much

plays as scenes or characters that appear in other works. Many are

very rarely produced; their revivals require research into old docu-

ments and prints, and involve new writing, but several, like Kenuki,

Sukeroku, Narukami, Shibaraku, and Kanjincho

are seen regularly.

KABUKI MONO. Certain notorious urban persons, many being ro

nin,

who ﬂaunted their antiestablishment attitudes in the late 16th and

early 17th centuries, and who often traveled in gangs. They gained

the name kabuki mono, suggesting eccentricity or social deviance,

because kabuki was a form of the verb kabuku, meaning ‘‘to incline’’

or ‘‘tilt.’’ They wore outrageous clothing, behaved outlandishly (and

sometimes violently), had radical hairstyles, and, in general, drew

attention to their lawless ways. The Tokugawa government viewed

them as an antisocial threat and cracked down on them. They became

popular ﬁgures in the contemporary imagination, and were even

made into characters in early kabuki plays, which itself took on the

name kabuki because of its ﬂamboyant tendencies, including cross-

dressing, sexuality, and mingling of the sacred and profane. The per-

formers, in turn, also came to be called kabuki mono. See also

IZUMO NO OKUNI; FUWA NAGOYA MONO.

KABUKI MUSIC. See GEZA; HAYASHI; NARI MONO; SHAMISEN.

KABUKI-ZA. Japan’s best-known kabuki theatre, ﬁrst built in 1889. It

is located in Higashi Ginza, Tokyo. The 1889 exterior had a Western

appearance, while the i nterior was in traditional Japanese style,

although the outside was revised in 1911 to resemble a Japanese pal-

ace. It burned down in 1922 because of an electrical ﬁre, and

reopened in 1925 in a four-story building made of concrete in a style

based on the Momoyama era. Aside from its left and right sajiki, all

seats

were Western style. It was bombed in 1945 and was not rebuilt

until 1951, with an auditorium seating around 2,600. It has a prosce-

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KADENSHO • 147

nium about 90 feet in width, and it is 67 feet from the stage to the

rear of the house.

KABURI MONO. See HEADGEAR.

KADENSHO. ‘‘Teachings on Style and the Flower,’’ also known as

Fushikaden, the earliest of Zeami’s secret writings (hiden)onno

believed to have been completed around 1402 although the ﬁnal ver-

sion of chapter seven, the last, seems not to have been written until

1418. Zeami, seeking to memorialize the art of his father, Kan’ami

Kiyotsugu and to ensure sarugaku’s survival, also discusses his own

career. He insists that the treatise is for his descendants; he hoped

no rivals would ever see it. It is the foundation for all Zeami’s later

writings.

It begins with speculation on the origins of no

(referred to as saru-

gaku and ennen), which Zeami traces to the time of Prince Sho

toku,

who commanded Hata no Ko

katsu to create 66 public entertainments

from which no

evolved, with Ko

katsu’s descendants becoming the

hereditar y shrine performers at Kasuga Shrine in Nara and Hie

Shrine in O

mi. After describing the appropriate qualities of speech

and appearance a good actor must possess and behavior that must

be avoided (sex, gambling, too much drink), the work introduces the

following chapters (Rimer and Yamazaki’s [1984] headings are used

here):

• ‘‘Items Concerning the Practice of the No

in Relation to the Age

of the Actor’’ is subdivided into sections on what an actor should

seek to accomplish at ages 7, 11 or 12, 17 or 18, 24 or 25, 34 or

35, 44–45, 50 or older. Zeami offers practical advice on what

kind of training and artistic goals—including choice of roles—

are appropriate for each age in terms of physical, psychological,

aesthetic, and spiritual readiness. Much of the discussion is cen-

tered on the best way to express and maintain hana.

• ‘‘Various Items Concerning Role Playing’’ begins with a discus-

sion of monomane and how best to apply it to the roles one must

play. Zeami says the actor must closely study the kinds of per-

sons he will play, cautioning against excessive realism only in

the performance of laborers and rustics. His comments suggest

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148 • KADO NO SHIBAI

a far more realistic style of performance than is now associated

with no

. Subdivisions follow on playing various character types.

• ‘‘Questions a nd An swers’’ c onta ins n ine i nterview -lik e que s-

tions and answers concerning such things as judging an audience

before a performance, arranging a performance in terms of jo-

ha-kyu

, strategies to employ in a performance competition, ways

to distinguish among levels of performance, etc.

• ‘‘Matters Pertaining to the Gods’’ begins by recounting the leg-

ends of no

’s origins in the age of the gods, India (land of the

Buddha), and historical Japan; describes how the word sarugaku

was created; discusses sarugaku’s fate under Emperor Murakami

(926–67); and mentions contemporar y religious occasions on

which no

was given.

• ‘‘The Most Profound Principles of the Art of No

’’ says that

actors must not treat their art with a self-serving attitude but

must search for the true way; examines the actor’s creativity

within tradition; compares the styles of Yamato and O

mi saru-

gaku; praises the dengaku actor Itchu

, and concludes with words

on the beneﬁts no

at its highest level brings.

• ‘‘Training in the Flower’’ ranges over playwriting methods; dif-

ferent levels among plays; unsuitable plays and unsuccessful

performances ; the ne ed fo r a sy nerg y between a play’s words

and music; the impor tance of movement growing from chant,

not the reverse; yu

gen in acting and writing, etc.

• ‘‘A Separate Secret Teaching’’ mainly provides a detailed dis-

cussion of the metaphor of hana.

KADO NO SHIBAI. Also Kado-za (its principal name after the Edo

period), once one of the three great kabuki playhouses of Osaka’s

tonbori district, but now a variety hall (yose). It was founded in

1652 as the O

saka Tazaemon Shibai. Its name of ‘‘Corner Theatre’’

comes from its being at the corner where Tazaemon Bridge crossed

to the south. The ﬁrst mawari butai was installed here in 1758. In

1885, it was rebuilt with Western touches, but was reconstructed in

1921 by Sho

chiku. It was bombed in 1945 and rebuilt in 1948, and

then was used for movies.

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KAGURA • 149

KAESHI. The changing of a bunraku set without the closing of the cur-

tain. The scene change must be done entirely by hand since bunraku,

unlike kabuki, does not employ a mawari butai. See also SCENERY.

KAGAMI ITA. The ‘‘mirror board’’ wall directly upstage of the atoza

at the rear of a no

stage, on which is painted a venerable pine tree. A

brief wall running downstage at its right is the waki kagami ita (‘‘side

mirror board’’), which contains the kirido guchi; the wall has bam-

boo stalks painted on it. The pine and bamboo stand for longevity

and strength but the pine also symbolizes those trees visible behind

the stage when no

was performed out of doors at Nara’s Kasuga

Shrine in the middle ages. A deity is thought to reside in the kagami

ita, making it the most sacred part of the stage.

KAGAMI NO MA. The wood-ﬂoored ‘‘mirror room’’ from which no

and kyo

gen actors enter and into which they exit during a perform-

ance. It is here that they prepare themselves emotionally and psycho-

logically for their performances. Actors enter this room after putting

on their costumes in the adjoining sho

zoku no ma (‘‘costume room’’).

In the kagami no ma, they don their masks and headgear. Shite do

so while seated on a black lacquer cask (kazura oke), like that used

as a property. Other actors put on masks and headgear while seated

on the ﬂoor. The shite sits in his mask before a large mirror, with

his properties laid out before him on a stand. He contemplates his

appearance as a means of artistic preparation. The musicians tune up

(shirabe) here as well. See also STAGE: NO

AND KYO

GEN.

KAGEBARA. The bunraku and kabuki ‘‘hidden stomach’’ performance

highlight depicting a character who has secretly slit his belly in an

act of seppuku, but who nevertheless confronts some crucial issue

before revealing his mortal wound. A representative example is in

Shin Usuyuki Monogatari.

KAGURA. In no

,ataiko mono

dance (see

MAIGOTO)witharich

rhythmic

base, usually performed by female deities and shrine priest-

esses (miko) bearing nusa (‘‘Shinto offerings’’). Makiginu and Tat-

suta are examples. Kyo

gen uses kagura, too, for dances by shrine

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150 • KAICHO

MONO

maidens and wives, with the dancer using bells to accentuate the

rhythm. Examples are in Ishigami, Taiko Oi, Dai Hannya. The move-

ments and accompaniment, however, use only a fue and kotsuzumi

(see KOTSUZUMI AND O

TSUZUMI), which differ from no

Kagura also refers to the widespread practice of ritual shrine per-

formances, found throughout Japan.

KAICHO

MONO. A group of bunraku and kabuki plays performed

during the Edo period to celebrate the public display of a Buddhist

religious icon or treasure at a provincial temple as part of a fund-

raising drive. Such plays inserted in their texts laudatory references

to appropriate deities, introduced a deity, or did a dance in his honor.

Plays in this group include Chikamatsu Monzaemon’s Keisei

Hotoke no Hara and Keisei Mibu Dainenbutsu.

KAIDAN MONO. Kabuki ‘‘ghost plays,’’ among the earliest examples

being a group of early 18th-century works about the spirit of a cour-

tesan who appeared to express her longing, not to scare anyone. The

true kaidan mono, however, arose in the early years of the 18th cen-

tury, a time of social decadence, and found their master in Tsuruya

Nanboku IV, who began with Tenjiku Tokubei Ikoku Banashi, which

led to the specialization in ghost play acting of Onoe Matsusuke I

and other actors in the Onoe family, who created many fascinating

keren effects. Ghosts came to be performed as legless beings wearing

a long, funnel-shaped, gray kimono (jo

go). Ghost plays were associ-

ated with summertime performances (natsu kyo

gen) because of that

season’s bon festival celebrating the annual return of the departed.

The great kaidan mono include Kasane, To

kaido

Yotsuya Kaidan,

Higashiyama Sakura no So

shi, Tsuta Momiji Utsunoya To

ge, and

Kaidan Bo

tan Do

ro. The rationalistic Meiji period saw less interest

in ghost plays, and those that were written tended to explain ghostly

manifestations