Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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KAKERI • 151

needed. Their duties include producing the footsteps for the other-

wise soundless puppets. See also KO

KEN; KUROGO.

KAKEAI. A term used in no

, bunraku, and kabuki.Inno

, it is the rhyth-

mically noncongruent chanting (utai) of dialogue between the shite

and the waki, often following the mondo

; rarely, it is between the

shite and the jiutai.(See also RONGI.)Inbunraku, it is the use of

more than one chanter to perform a complex scene. In kabuki,itis

when more than one jo

ruri style is employed in a single shosagoto.

A good example of kabuki kakeai is in Momijigari, where the music

is supplied by three styles, nagauta, gidayu

, and tokiwazu, although

kakeai normally uses only two styles.

Representative kakeai in bunraku include ‘‘Ichiriki Chaya’’ (Kana-

dehon Chu

shingura), ‘‘Yama no Dan’’ (Imoseyama Onna Teikin), and

‘‘Kuruma Biki’’ (Yoshitsune Senbon Zakura). Some, like ‘‘Ichiriki

Chaya,’’ had multiple chanters from their ﬁrst productions, but others

added them in later revivals. Sometimes, kakeai is used to give young

chanters practice opportunities.

KAKEGOE. In kabuki, the comments shouted at the actors by playgo-

ers during a performance as signs of approbation or criticism,

although today almost always the former. These traditional com-

ments must be rhythmically precise, and include such things a s

shouting the actor’s yago

, such as ‘‘Naritaya’’ for someone in the

Ichikawa Danju

line, or ‘‘Daito

ryo

’

’ (‘‘President’’) for a distin-

guished-looking

actor, or the name of an actor’s father, or the actor’s

ordinal number, or a remark like ‘‘Mattemashita!’’ (‘‘Been waiting

for that!’’). Today, kakegoe specialists belong to a dwindling band.

See also HOME KOTOBA; O

MUKO

The same word is used for the unusual drummer’s cries heard in

music and kabuki (most n otably in the former) to mark the

rhythm. The cries, heard before the striking of a drum, have been

transliterated as ‘‘iya-a!,’’ ‘‘yaoo-hao!,’’ ‘‘yoo-i!,’’ ‘‘ho-ho!,’’ and so

on. Each is speciﬁc to the type of drumbeat it accompanies. Because

has no conductor, the kakegoe serve as markers for all on stage.

KAKERI. Relatively brief no

‘‘anguish dances’’ (one-third the length of

chu

no mai) that depict suffering samurai ghosts on the battleﬁeld in

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152 • KAKERI MONO

nibanme mono like Atsumori and Tsunemasa, and obsessively dis-

traught women in yobanme mono like Sakuragawa, Sumidagawa,

and Hanjo. They may be performed as daisho

mono or taiko mono.

Kakeri may also refer to no

hatarakigoto. In these dances, the char-

acter’s right arm is often slipped free of the outer robe. Because of

the shite’s emotional state, the bird-killing scene in Uto

is called kak-

eri but its mimetic action makes it more like a hatarakigoto than a

conventional kakeri. Kakeri al so may be w itne ssed in kyo

gen like

Makura Monogurui, Natorigawa, Ho

shi ga Haha, Kanaoka, etc. See

also MAIGOTO.

KAKERI MONO. See NIBANME MONO.

KAKIDASHI. The ﬁrst position, on the extreme right, for the listing of

actors’ names on Edo-period kanban and in banzuke. The position

was reserved for a popular young star, while the zagashira was listed

last. See also NAKAJIKU.

KAKIKAE KYO

GEN. Edo-period bunraku and kabuki plays that were

‘‘rewritten versions’’ of earlier plays. This was a principal playwrit-

ing procedure as playwrights based their work on material that bene-

ﬁted from familiarity and appreciation. It also allowed contemporary

events to be disguised by dramatizing them within the framework of

times and characters already well known to spectators, who enjoyed

making the association between the old and the new.

KAKINUKI. The kabuki actor’s ‘‘sides’’ or script ‘‘extracts’’ contain-

ing only his lines for use in rehearsal and for learning his part.

KAKKO. A buoyant, long dance performed by Buddhism-related enter-

tainers in no

and kyo

gen while

miming

the beating of a small ‘‘chest

drum.’’ Kagetsu and Ho

ka-Zo

are examples. When seen in kyo

gen,

the kakko is strapped to the waist and beaten with a stick in either

hand during the dance, as in Taiko Oi, Senjimono, Matsubayashi, etc.

The chest drum is seen in some kabuki dances, too, as in Musume

-ji and Echigo Jishi. See also MAIGOTO; MUSIC: NO

KAKO CHIKA (1835–93). A bunraku playwright, second wife of the

great shamisen player Toyozawa Danpei II, whom she married in

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KAKYO

• 153

1883. Some say she was a Kyoto dance master who was the daughter

of a teahouse proprietor; others that she was the mistress of a noble-

man. She is best known for collaborating with Danpei in writing the

last important bunraku plays, Tsubosaka Reigenki and Ro

ben Sugi

no Yurai, both originally part of the same longer work.

KAKO

SHU

. A kabuki ie no gei collection of roles associated with

Ichimura Uzaemon XV. It includes Ishikiri Kajiwara in Miura no

suke Ko

bai Tazuna, Yosaburo

in Yowa Nasake Ukina no Yokogushi,

Sanemori in Genpei Nunobiki no Taki, Gosho no Gorozo

in Soga

Moyo

Tateshi no Goshozome, Igami no Gonta in Yoshitsune Senbon

Zakura, Moritsuna in O

mi Genji Senjin Yakata, Omatsuri Sashichi in

Edo Sodachi Omatsuri Sashichi, Sukeroku in Sukeroku Yukari no

Edo Zakura, Kanpei in Kanadehon Chu

shingura,Naozamuraiin

Kumo ni Mago

Ueno no Hatsuhana, and Togashi in Kanjincho

KAKUBEI MONO. A group of kabuki shosagoto based on the Edo-

period street entertainers called Kakubei who traveled to Edo from

Tsukigata Village, Echigo, during the New Year’s season to present

their acrobatic Kakubei Jishi (Kakubei Lion Dances) while wearing

a small lion mask and banging a chest drum (kakko). Kakubei mono

often teamed him with a pretty shamisen-carrying woman dressed

as a ‘‘birdcatcher’’ in a folded straw hat and wearing geta. See also

BUYO

KAKUSHA HYO

BANKI. Also Kyakusha Hyo

banki, this ‘‘Spectators’

Critique’’ is a three-volume 1811 satire by Shikitei Sanba and illus-

trated by Utagawa Kunisada. Modeled on the annual yakusha

hyo

banki

, it provides insights into the kind of audience members who

frequented Edo-period kabuki. Spectators are divided into 49 types,

given nicknames, and graded in ‘‘good’’ and ‘‘bad’’ groups, the grad-

ing parodying those in the actors’ critiques.

KAKYO

. A Mirror Held to the Flower, one of Zeami’s major treatises

(hiden), compiled in 1424, in which a 1418 treatise, Kashu

(Learning

the Flower), is included. Its 18 sections range over a wide number of

topics, among them breathing, projection, and pitch; an explanation

of the expression, ‘‘when you feel ten in your heart, express seven in

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154 • KAMAE

your movements’’; how foot movements must be consonant with

body movements; how words must precede, not follow, actions; how

the actor must become the character by assuming its proper physical

quality before words and movements can be meaningfully expressed;

how dance must express the words if it is to engender emotion; how

the actor must see himself as the spectator does, from every direction,

including from behind; the importance of speaking at precisely the

moment that it is anticipated by the audience, intuitively matching

one’s feeling to the moment; how a program is selected according

to jo-ha-kyu

; how to adjust the performance when unexpected events

arise; the nature of yu

gen; how an actor doing ‘‘nothing’’ may be at

his most fascinating because of his deep concentration; the unique

quality of myo

sho (‘‘peerless charm’’) that the greatest actors seem

to possess; what is appropriate for the actor to master at each age in

his career, etc.

KAMAE. The basic posture taken by no

and kyo

gen actors in which the

body is vertical from head to heel, and from which all movement

ﬂows. The arms are always held in such a way as to create the image

of balanced volume, with the head as the balancing center. Bethe and

Brazell offer this image:

The . . . dancer is weighted in his hips, which remain motionless, as does

his torso. The immobile trunk, alive and alert, acts as the energy nexus

from which arm and leg movements generate. From skull to tailbone, the

straight spine is suspended, so to speak, between heaven and earth. The

chin is tucked in and pulled back, giving an extra lift to the back of the

skull and an elegance to the unbroken line of the torso (1982, vol. I, 25).

From this fully focused, sculptural position, every muscle tensed,

the actor begins his hakobi (‘‘walk’’) through the space, walking in a

gliding movement (suriashi) that keeps the soles of the feet on the

polished wooden ﬂoor, with only the toes rising, a technique made

possible by his tabi. He must never produce any unnecessary move-

ment, such as bobbing up and down, but must seem to be practically

ﬂoating. See also MAI.

KAMAWANU. A design traditional to kabuki’s Ichikawa fami ly th at

shows a sickle (kama), a circle (wa), and the phonetic character nu

combined to form the word kamawanu (‘‘I don’t care’’). Ichikawa

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KAMI MAI MONO • 155

Danju

VII created it for the villain Yoemon in Kasane. See also

COSTUMES: KABUKI.

KAMI. A high vocal pitch used by the bunraku chanter at moments of

great feeling. See also GIDAYU

BUSHI.

KAMI ARAI. A kabuki kata performed in shosagoto when an actor

playing a ‘‘lion’’ leans forward and swings a long mane of hair from

left to right and back again. As the hair touches the ﬂoor, it seems to

be washing it, thus the name ‘‘hair washing.’’ Examples are in Ren

Jishi and Kagami Jishi.

KAMIGATA. Also Kansai, Keihan, and Kinki, the region of Western

Japan dominated by Osaka, Kyoto, and Kobe.

KAMIGATA KYO

GEN. Bunraku and kabuki plays steeped in the world

of the Kamigata region, in contrast to those associated with Edo life.

Representative are keiseigai kyo

gen (see SHIMABARA KYO

GEN),

about courtesans and their lovers, as in Kuruwa Bunsho

KAMIKO. The ‘‘paper kimono’’ worn by kabuki wagoto lovers such as

Izaemon in Kuruwa Bunsho

, who are cut off from their family funds

and forced to dress as if too poor for regular clothing. (See also YAT-

SUSHI.) The kamiko is actually a beautiful, stylized silk garment in

black and purple, with patches representing love letter scraps written

in ﬂowing cursive script sewn to the shoulders, hems, and sleeves.

Worn with it is a crescent-shaped folded straw hat that hides the face.

The feet are bare. See also COSTUMES: KABUKI.

KAMI MAI. In no

, a usually rapid-tempo, auspicious ‘‘god dance’’ per-

formed by vigorous male gods wearing the kantan no otoko mask

(see OTOKO), as in Takasago and Yo

. See

also KAMI MAI MONO;

MAIGOTO.

KAMI

MAI MONO. A subdivision of no

’s hatsubanme mono (‘‘ﬁrst-

group plays’’) category, in which a youthful deity performs a vigor-

ous kami mai. The groupings are named for the kind of no

mask

worn (numbers indicate how many examples are in each group): (a)

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156 • KAMI NO

eight kantan no otoko mono: Takasago, Yumi Yawata, Yo

, Shiga,

Awaji, Mi-Mosuso, Shironushi, Matsu no O, Ema; (b) one zo

mono:

Saoyama, also considered a shin no jo no mai mono, another hatsu-

banme mono subdivision; (c) one mikazuki mono: Daiten. Except for

Ema all the kami mai shite are male deities. See also CHU

NO MAI

MONO; GAKU MONO; HATARAKI MONO; MAIGOTO.

KAMI NO

. See HATSUBANME MONO.

KAMISHIMO. ‘‘Top and bottom,’’ formal attire consisting of a katagi-

nu worn over a montsuki and hakama. It is seen on numerous samu-

rai-rank characters in traditional Japanese theatre, and is the standard

costume for chanters and musicians who appear on stage (see

DEGATARI). In kabuki, the colors of the musician’s clothing gener-

ally designate the kind of music they represent. When worn with the

trailing hakama (nagabakama), it is called nagakamishimo.

KAMISUKI. The kabuki ‘‘hair combing’’ convention whereby one

character combs another’s hair, generally conveying a touch of inti-

macy and thus often part of love scenes (nuregoto; see NUREBA),

as when Michitose combs Naojiro

’s hair in Kumo ni Mago

Ueno no

Hatsuhana.

Usually, the woman combs a man’s hair, but the opposite

y be seen as well; mothers may also comb children’s hair. Hair

combing also ﬁgures in other contexts as well, such as when a jealous

woman combs her own hair only for it to stand on end as a symbol

of her distraught feelings. In To

kaido

Yotsuya Kaidan Oiwa, afﬂicted

by a poison she has drunk, sees her hair come out in bloody clumps

as she combs it.

KAMITE. In bunraku and kabuki,‘‘stage left,’’ from the actor’s point

of view. See also SHIMOTE.

KANAI SANSHO

(1731–97). An Edo playwright with hereditary ties

to the Nakamura-za, whose ﬁnancial manager he became at 22. In

1754, he began writing plays for Ichikawa Danju

IV, and became

tate sakusha of the Morita-za in 1759. In 1764, he was writing for

the Ichimura-za. He was not outwardly active from 1776, but was

working in the background, although he returned to the Nakamura-

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KAN’AMI KIYOTSUGU (1333–84) • 157

za in 1786, bringing along a group of outstanding young actors he

had trained. Despite becoming a priest in 1792, he continued writing

while keeping a low proﬁle.

He and Horikoshi Niso

ji were at one point prized as Edo’s best

dramatists. He wrote over one hundred plays, the best being sewa

mono and shosagoto. He brought logic and order to Edo’s producing

system and was responsible for developing the gassaku collaborative

process there. He also invented technical stage effects. His Edo Mura-

saki Kongen Soga, based on Tsuuchi Jihei II’s original, became the

classic Sukeroku Yukari no Edo Zakura.

KANAMARU-ZA. A still-standing 1835 kabuki theatre in Kotohira,

Kagawa, Shikoku. Once an impor tant venue for touring actors

because of the large number of pilgrims who visited Kotohira’s

mountain shrine to Konpira, god of seafarers and travelers, it was

used for various purposes, including movies, in the 20th century and

fell into disrepair but, made a National Designated Important Cul-

tural Property in 1970, it was renovated in 1985. Its original name

was Konpira O

shibai (‘‘Konpira Large Theatre’’) but it now is for-

mally known as Kyu

Konpira O

shibai (‘‘Old Konpira Large The-

atre’’). For several days ever y year, major actors perform in it to

packed houses, providing an idea of what it was like to see kabuki in

the old days. Its special features include two hanamichi, a manually

operated mawari butai,akaraido, and audience seating in divided

masu in the doma and in two levels of sajiki. Lighting is natural,

coming from windows high over the auditorium. See also MADO-

BUTA; STAGE: KABUKI.

KAN’AMI KIYOTSUGU (1333–84). The no

playwright-actor-

musician who probably founded the Yu

zaki za, later known as the

Kanze ryu

. He was known professionally as Kanze Kan’ami (or

Kannami) Kiyotsugu. His troupe got its ﬁrst name from its home in

Yuˆzaki, a village in Yamato, where it became one of the four major

Yamato sarugaku troupes, and where it was attached to the Ko

fuku-

ji Temple and Kasuga Shrine in Nara. He developed an artistic style

that absorbed important inﬂuences from dengaku and

mi sarugaku

increased the level of yu

gen (associated with O

mi sarugaku) and

monomane (the Yu

zaki specialty), and, most signiﬁcantly, made the

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158 • KANBAN

revolutionar y innovation of introducing the popular, rhythmic

kusemai music into sarugaku, thereby capturing the attention of the

boy shogun, Ashikaga Yoshimitsu, probably in 1374, at a perform-

ance in Imagumano, Kyoto. This led to ofﬁcial patronage for the

Kanze. He also revised old plays and wrote many new ones, includ-

ing Jinin Koji and Sotoba Komachi, both of which convey lessons

in Buddhist morality. His son, Zeami Motokiyo, who preserved his

father’s teachings i n the Kadensho, reworked his plays; modern

scholarship has determined that little, if anything, remains of

Kan’ami’s originals.

KANBAN. The billboards hung from the eaves outside kabuki theatres

that, during the Edo period, followed strict conventions r egar ding

what they displayed. Simple at ﬁrst, they evolved into elaborate play

adver tisements. Each type had its own name, the types including

those for the formal title, act titles, cast lists, and so forth. Some had

only words, others had paintings. Edo’s illustrated billboards were

painted by members of the Torii school, and the calligraphy was of

the Kantei ryu

, while Kyoto and Osaka used the Kamigata school

of art and the To

kichi ryu

of calligraphy. Among the many special-

ized types were the four konadai kanban (‘‘small title billboards’’),

which listed each of the acts’ titles on its own kanban; the mon kan-

ban (‘‘crest billboard’’), which showed the actors’ mon, names, and

role types (yakugara); the o

nadai kanban (‘‘large title billboards’’),

which provided the play’s full title (see KYO

GEN NADAI); the

yagurashita kanban (‘‘beneath the drum-tower billboard’’), three to

ﬁve signs hung beneath the yagura giving the names of the zamoto

and the principal players, etc. The arrangement of these and other

kanban was set by tradition. See also KO

GYO

KANERU YAKUSHA. The kabuki designation for a ‘‘versatile actor.’’

During the 19th century, versatility replaced specialization as a mark

of artistic achievement. The henge mono of the early century gave

stars great opportunities to display their range, some works allowing

them up to 12 roles, with the aid of quick-changes (hayagawari).

KANGEN TO SEKKAN. ‘‘Remonstrance and chastisement’’ bunraku

and kabuki plot elements in which an elderly parent rebukes their

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KANMURI • 159

child for misbehavior, usually without lasting results. An example is

when Kyuˆsaku, t he elderly foster father o f Hisayoshi in ‘‘Nozaki

Mura’’ (Shinpan Utazaimon), realizing that Hisamatsu and Osome

plan to commit lovers’ suicide (shinju

; see SHINJU

MONO), cau-

tions them against acting rashly by telling them a tragic story about

doomed lovers.

KANJIN NO

. ‘‘Subscription no

’’ or ‘‘beneﬁt no

’’ (originally called kan-

jin sarugaku) were open-air performances, given over three or four

days, which charged an admission fee. The proceeds usually were

intended for creating or repairing temples or Buddhist statuary but

some were intended to raise money for public works. They were also

extremely important sources of income for performance troupes.

Some were given on the retirement of a leading actor or on other

auspicious occasions. Crowds were great. In 1349, so many attended

one for dengaku that the stands collapsed and many died or were

injured.

A typical site was one of Kyoto’s dry riverbeds. Temporary the-

atres were built to accommodate spectators from all classes. Early

kanjin no

theatres were circular, with the stage being placed in the

middle of the circle, and the hashigakari running perpendicularly

from the middle of the upstage area. By the Edo period, no

actors

had become more mercenary, and two kinds of kanjin no

came into

being. One was the usual fund-raising type, and the other was billed

as a ‘‘Once in a Lifetime Kanjin No

.’’ The ﬁrst could be done when-

ever permission was received; the latter was limited only to actors of

the Kanze ryu

, giving one-time only performances, although excep-

tions were given to the Ho

sho

ryu

KANMURI. A major class of headgear worn in no

by male and female

celestials and by high-class noblemen, including the emperor. The

latter and his vassals wear the ui kanmuri, with its long cord tied

loosely below the jaw and its round, whisk-like sidepieces. The suki

kanmuri has wing-like sidepieces, worn by male deities, and the to

kanmuri, worn by Chinese emperors and ﬁerce deities, is somewhat

similar. One of the most striking kanmuri is the tengan (‘‘heavenly

crown’’), a beautiful piece to the center of which is attached a round,

golden stand to which is afﬁxed a phoenix, a ﬂaming globe represent-

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160 • KANTEI RYU

ing the sun goddess Amaterasu, or the moon. Empresses, angels, and

female deities wear it.

Bunraku and kabuki also have kanmuri, worn by nobles and court

ofﬁcials in jidai m ono. See also COSTUMES: BUNRAKU;COS-

TUMES: KABUKI; COSTUMES: NO

KANTEI RYU

. The unique calligraphic style of the ‘‘Kantei school,’’

which came to represent Edo kabuki. It was used on kanban, ban-

zuke, and in play scripts. It uses thick, rounded brush strokes, with

so few spaces it is sometimes nearly unreadable. It was created in

1779 by Edo’s Minami Okazakiya Kanroku (1746–1805), who

signed his work ‘‘Kantei.’’ See also TO

KICHI RYU

KANZE HISAO (1925–78). No

master of the Kanze ryu

of shite

actors, the eldest son of Kanze Tetsunojo

VIIandstudentofhis

grandfather, Kanze Kasetsu. He debuted in 1929 and was recog-

nized throughout his youth as a prodigious talent. He was both a deep

student of Zeami’s treatises and an active participant in contempo-

rary experimentation. In 1962, he was invited by the French govern-

ment to France in order to study French and Japanese theatre

interactions. In 1970, he formed the Mei no Kai (Dark Company),

which included modern theatre (shingeki) actors and directors, to

produce plays such as Greek tragedies. He criticized the closed world

of no

, believing ﬁrmly in no

from an international world theatre per-

spective. He combined talent and perseverance to produce no

as cre-

atively as possible and garnered acclaim from both no

traditionalists

and outsiders.

KANZE JU

MOTOMASA (1398?/1404?–32). No

playwright,

actor,andmusician,theeldestsonofZeami Motokiyo.Hedied

young while touring to Ise, and some speculate that he was murdered.

Zeami’s writing s sug gest that he was a gifted arti st, p erha ps even

greater than his father, and four of his plays—Morihisa, Sumida-

gawa, Uta-ura,

and Y

oroboshi—are still important. (Two others are

no longer performed.) They are known for the high level of insight

with which their leading characters are depicted. Zeami even wrote

that Motomasa’s plays were superior to those of Kan’ami Kiyo-

tsugu, although—despite strong differences from Zeami’s style—

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