Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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KATARIAI • 171

onnagata who became Nizaemon in 1936, and was active in Kami-

gata and Tokyo. After Onoe Baiko

VI died, Nizaemon XII took over

the roles of women opposite the great Ichimura Uzaemon XV.He

was murdered by a servant for reasons related to the postwar food

shortages.

Nizaemon XIII (1903– 94), son of Nizaemon XI, was active in

Kamigata and Tokyo, and was one of the leading stars of 20th-cen-

tury kabuki, playing mainly tachiyaku, and being famed as a protec-

tor of Kamigata traditions, especially wagoto. He made serious

efforts to revive Osaka kabuki in the 1950s and 1960s before being

forced by business conditions to work chieﬂy in Tokyo, where he

played major roles into advanced old age. He wrote over half a dozen

books on acting.

His son, Nizaemon XV (1944–), is one of the most popular con-

temporary actors, being outstanding in most male roles. His perform-

ances opposite the great onnagata Bando

Tamasaburo

V were

benchmarks of kabuki romantic acting, especially their productions

of Sakura-hime Azuma Bunsho

. He became Nizaemon XV in 1997,

changing from Kataoka Takao.

KATARI. A word whose meaning differs somewhat from one type of

traditional theatre to another but which essentially means ‘‘narrative’’

or ‘‘story.’’ In no

, it refers to a sho

dan module where a character

(usually the waki but sometimes the shite or tsure) provides a solo

narration of a literary or historical story, as in Kagekiyo or Sumida-

gawa. Such sections belong to the grouping of sho

dan called katari-

goto.

In Edo, kabuki the word referred to a brief plot summary, using

considerable word play, and printed over the title on a kanban and in

the banzuke. The Kamigata practice was to print it to either side of

the title. See also TSUNOGAKI.

KATARIAI. ‘‘Speaking interlude,’’ one of the two types of aikyo

gen

scenes, the other being ashirai-ai. Found in over 80 percent of no

plays, alth ou gh of ten o mitt ed fr om yo

kyoku te xts, th e sce ne tran-

spires

during

the interlude (nakairi) following the shite’s exit

between the halves of a two-act mugen no

. After the shite has exited,

a ‘‘man of the place’’ (tokoro no otoko)—the ai—sits at center and

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172 • KATARIGOTO

informs the waki about a story related to some person or spirit associ-

ated with the location in which the action is occurring. This is igatari.

The waki then prays for the shite. Much of what the ai says repeats

what the ﬁrst half of the play established but it buys time while the

shite, having changed costume and mask, prepares to reenter to

reveal his true self.

In early no

, other methods were sometimes used to tie the parts of

the play together, such as having a scene between the tsure and

someone else, as in Unrin-in; or having the waki deliver a personal

narrative, as in Kayoi Komachi. The aikyo

gen was then a short, sim-

ple dialogue between ai and waki, but it gradually grew longer and

more formalized, even being embellished by the actors.

KATARIGOTO. Of the four principal categories of no

sho

dan, the one

devoted to ‘‘spoken (or prose) pieces.’’ It comprises katari, mondo

nanori, and tsukizerifu. See also HAYASHIGOTO; SHIJIMAGOTO;

UTAIGOTO.

KATO

BUSHI. Also hizen bushi and handayu

bushi, a school of jo

ruri

founded in 1717 by Tenmanya To

(1684–1725). It was at the

height of its popularity in the mid to late 18th century as a reﬁned

type of shamisen music. Today, it is heard in kabuki mainly in Sukero-

ku Yukari Edo no

Zakura, where it is always performed offstage by

amateurs

belonging

to a group called the Misumi Kai.

KATSU GENZO

. Three generations of kabuki playwrights.(See

KAWATAKE MOKUAMI; KATSU NO

SHIN.)

Genzo

III (1844–1912), son of Katsu No

shin, took the name in

1878, although calling himself Takeshiba Genzo

from 1884 to 1993.

He was active mainly in Osaka, where he collaborated with his father

and produced around 300 plays (including for shinpa), few still per-

formed. He adapted war stories and newspaper reports into plays, and

even adapted Shakespeare’s The Merchant of Venice as a kabuki play

called Sakura Doki Zeni no Yononaka (1885), a title translated as

Mercenary Affairs under the Cherry Blossoms.

KATSU NO

SHIN (1820–86). A kabuki playwright who began as an

amateur jo

ruri writer in variety (yose) shows. After becoming the

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KAWARASAKI CHO

• 173

disciple of popular author Shikitei Shunba, he studied under Kawa-

take Mokuami. One of his earlier names was Katsu Genzo

II.He

became tate sakusha at the Ichimura-za when Mokuami left that

theatre, but ﬁnancial straits led him to move to Osaka. He and his

son, Katsu Genzo

III, became the top Osaka dramatists. He took

Mokuami’s haimyo

of No

shin in 1878.

KATSURA. See WIGS: KABUKI; WIGS: KYO

GEN AND NO

KATSUREKI MONO. The ‘‘living history plays’’ that arose during the

Meiji period under the inﬂuence of the theatrical reform movement

(Engeki Kairyo

Undo

), the chief artists supporting them being Ichi-

kawa Danju

IX and Kawatake Mokuami. After several tentative

experiments, the ﬁrst full-scale example arrived in 1878, with Nitcho

no Yumi Chigusa no Shigedo

. These plays are devoted to showing

their characters, behavior, and settings as authentically as possible,

unlike the much more fanciful historical treatments in Edo-per iod

jidai mono, in which history was manipulated for dramatic effect and

censorship prevented the actual names of samurai from being used.

These plays were produced in the 1870s and 1880s mainly by the

progressive Morita Kanya XII, but they never caught on with the

public. Although they inﬂuenced later historical dramas of shin

kabuki, they were abandoned by 1886 and less than a handful are

still performed, among them Ho

Kudai Meika no

Isaoshi, Zo

Momoyama Monogatari, Youchi Soga Kariba no Akebono,and

Natorigusa Heike Monogatari.

KAWARA KOJIKI. ‘‘Riverbed beggars,’’ also kawara mono, an insult-

ing term directed at theatre folk in premodern times because of their

association with performances in dry riverbeds, where the poor and

outcast often resided because it was untaxed land. Kabuki was born

in the bed of Kyoto’s Kamo River. Even when actors began to play

in regular theatres, they remained kawara kojiki to society at large.

Only

the Meiji period, when reformist tendencies helped elevate

actors’ social position, did they rid themselves of the old term. See

also TENRAN GEKI.

KAWARASAKI CHO

. Four generations of kabuki actors. Yago

Yamazakiya. Cho

II (1902–81), son of Kawarasaki Gonnosuke

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174 • KAWARASAKI KUNITARO

VIII, debuted in 1905 and took the name of Cho

II in 1913. He

joined Ichikawa Sadanji II’s troupe in 1919 and toured with it to

the Soviet Union in 1928, but, in 1931, together with Nakamura

Kanemon III and Kawarasaki Kunitaro

V, he cofounded the pro-

gressive Zenshin-za company, of which he remained a sturdy pillar,

on stage and in ﬁlms. He toured to China in 1960 and 1965. Political

reasons caused him to resign in 1966 and to start an independent

career. Because of his interest in China, he worked to improve Sino-

Japanese theatrical relations.

KAWARASAKI KUNITARO

. Five generations of kabuki actors.

Yago

Yamashiroya (Kunitaro

I); Yamazakiya (Kunitaro

V). The most

famous was Kunitaro

V (1909–90), son of a painter, who became

an apprentice of Ichikawa Ennosuke II. Along with Kawarasaki

Cho

IV and Nakamura Kanemon III, he was a cofounder of the

progressive Zenshin-za troupe in 1931. He became Kunitaro

Vin

1932. As the Zenshin-za’s tate onnagata, he developed into one of

the troupe’s ﬁnest artists. Although primarily an onnagata, he some-

times played male roles. His specialty was the sewa mono of Tsuru-

ya Nanboku IV, especially To

kaido

Yotsuya Kaidan,inwhichhe

played Oiwa. He was also a renowned akuba.Kunitaro

Vwrote

many books on acting.

KAWARASAKI-ZA. An Edo playhouse founded by Kawarasaki Gon-

nosuke I in 1648 or 1656. The Ejima-Ikushima incident of 1714

led to only three Edo theatres (edo sanza) being permitted licenses,

so the Kawarasaki-za was able to p roduce only as an alternate or

hikae yagura for the Morita-za, starting in 1735, and offering plays

in 1735–44, 1790–97, 1800–08, 1815–17, 1819–22, 1822–33, and

1837–55 before closing down for good. A brief attempt to revive it

in 1875 survived only three years. See also KO

GYO

KAWATAKE MOKUAMI (1816–93). The

ast great kabuki play-

wright, a proliﬁc dramatist who wrote around 360 plays in every

style, and whose works dominate the reper tory t oday. He began

studying playwriting in 1835 as Kabu Genzo

, but had to leave the

theatre for personal reasons until 1841. He changed his name to

Shiba Shinsuke and, in 1843, became tate sakusha at the Kawara-

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KAZURA OKE • 175

saki-za as Kawatake Shinshichi II. From 1854, he had an extremely

productive collaborative association with the actor Ichikawa

Kodanji IV, for whom he wrote many shiranami mono. Later, he

wrote plays to order for the great Meiji stars, Ichikawa Danju

IX,

Onoe Kikugoro

V, and Ichikawa Sadanji I. He pioneered the kats-

ureki mono genre, did the same for zangiri mono, and advanced the

cause of matsubame mono. In 1881, he retired under the name

Kawatake Mokuami, but a lack of successors kept him busy writing

plays.

He was a master of the shichigocho

meter, and borrowed from all

sorts of literary sources (including Western books and plays, Shake-

speare’s included). Among his many still-produced plays are Tsuta

Momiji Utsunoya To

ge, Amimoyo

ro no Kikukiri, Kosode Soga

Azami no Ironui, Sannin Kichisa Kuruwa no Hatsugai, Hachiman

Matsuri Yomiya no Nigiwai, Kanzen Cho

aku Nozoki Karakuri, Soga

Moyo

Otokodate Goshozome, Aotozo

shi Hana no Nishiki-e, Kumo ni

Mago

Ueno no Hatsuhana; Ningen Banji Kane no Yo no Naka, Ho

Kudai Meika no Isaoshi, Suitengu

Megumi no Fukagawa, Momiji-

gari; Ibaraki, Funa Benkei, etc.

KAWATAKE SHINSHICHI. Three generations of kabuki play-

wrights,

the most impor tant of whom was Kawatake

Mokuami

before he changed his name. Shinchichi III (1842–1901), Mokuami’s

leading pupil, became the foremost Meiji dramatist after Mokuami

died. The author of around 80 plays, most based on ko

dan, his works

include Kagotsurube Sato no Eizame, Kaidan Botan Do

, Hagoro-

mo, Edo Sodachi Omatsuri Sashichi, and Shiobara Tasuke Ichidaiki.

KAZURA MONO. See SANBANME MONO.

KAZURA OBI. The brocade headband tied around no

wigs, bound at

the rear, where it hangs down. It is seen in kabuki on female charac-

ters in matsubame mono, as well as on certain upper-class women in

jidai mono.Examplesinkabuki are Shizuka in Funa Benkei and

Sakae Gozen in Meiboku Sendai Hagi.

KAZURA OKE. A frequently used kyo

gen and no

property consisting

of a black, lacquered, cylindrical tub used as a seat, something to

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176 • KEIGOTO

stand on, or as a container. Its lid may be used as an oversized sake

cup.

KEIGOTO. Also keiji, the Kamigata term for lyrical, as opposed to

dramatic or narrative-driven, kabuki dance plays, in contrast to the

Edo usage of buyo

(‘‘dance’’). It has come into use for bunraku in

modern times. There are dance sequences within plays written for

bunraku and there are also dance plays adapted from kabuki, which

may, in turn, have derived them from no

and kyo

gen.

Because aural qualities take precedence, keigoto employ beautiful

poetic passages, usually describing the scenery through which the

characters are passing. Bunraku uses multiple chanters and shami-

sen players for these scenes. See also KAKEAI; YUKA.

Until the late Edo period, the vast majority of keigoto were michiyu-

ki, among them ‘‘Michiyuki Hatsune no Tabi’’ (Yoshitsune Senbon

Zakura) and ‘‘Michiyuki Tabiji no Yomeiri’’ (Kanadehon Chu

shingu-

ra). See also SHOSAGOTO.

KEIKO. Kyo

gen and no

rarely hold extensive ‘‘rehearsals.’’ Because

productions are infrequently given by the same team of actors and

musicians, being mostly one-time-only events, the p erfo rmer s are

well enough versed in the material to work under such circumstances

by merely having a session in which they discuss the general plan

for the presentation, and explain anything that might differ from the

tradition.

Kabuki has a more extensive rehearsal policy although nowhere

near as prolonged as in modern theatre forms. Nowadays, about a

week is devoted to a new program of plays. It comes at the end of

the previous month’s program, which ends around the 25th of the

month. The ﬁrst couple of days of the actual run are considered part

of the rehearsal process.

About two days are devoted to making corrections (yomiawase)in

the material as the actors read their parts and someone from the liter-

ary staff (kyo

genkata) reads the stage directions (togaki) and narra-

tive sections. These are the hira keiko (‘‘sitting rehearsals’’). The

actors get on their feet and practice the staging during two days of

tachi keiko (‘‘standing rehearsals’’). Then follows a day of technical

rehearsal (tsuketate) with music, sound effects, etc., followed by a

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KENBISHI • 177

zarai (‘‘partial dress rehearsal’’), when many of the production ele-

ments are deployed. Those plays most frequent ly revived skip t he

tsuketate and so

zarai. There is also the butai keiko,afull‘‘stage

rehearsal’’ with all components in place.

KEIKO BON. A bunraku ‘‘rehearsal book,’’ in which all of a single

chanter’s scenes for a program are published for use in rehearsal

by the chanters and shamisen players. The chanter’s performance

notes are indicated in black next to the words. (See KUROSHU.)

Since each page has ﬁve lines, these scripts are also called gogyo

bon

(‘‘ﬁve-line books’’). The large network of amateur performers makes

much use of them. See also MARUHON; YUKA HON.

KEISEI. Female puppet head for gorgeous, high-ranking bunraku

‘‘courtesans’’ such as Akoya in Dan no Ura Kabuto Gunki. She has

a white face and eyes that close, and typically wears an ornately dec-

orated wig.

KEISEI MONO. A group of kabuki ‘‘courtesan dances’’ about keisei,

the high-class courtesans of the Edo period. Many originally were

sections of henge mono. These mostly plotless pieces seek to convey

the spirit and seasonal ﬂavor of life in the brothel districts. The cour-

tesans wear gorgeous costumes and elaborate wigs. The majority are

from Edo and use nagauta accompaniment. See also BUYO

KENBISHI. A male puppet head, whose name means a police ofﬁcial;

it originated in Chikamatsu Monzaemon’s Yo

mei Tenno

Shokunin

Kagami (1705). The kenbishi is somewhat smaller than the bun-

shichi, to which it ranks second in importance. Moritsuna in ‘‘Mori-

tsuna Jinya’’ (O

mi Genji Senjin Yakata) and Genzo

in ‘‘Terakoya’’

(Sugawara Denju Tenarai Kagami) are examples. The kenbishi’s

rather straight lips convey a feeling of ﬁrm resolve and intelligence.

These heads have eyebrows painted on, or movable ones that go up

and

down,

eyes that move from side to side, or eyes that only close

and open. Thus Moritsuna, while carrying out his head inspection,

can use his eyes to show that he is secretly observing Ho

Tokima-

sa’s reactions. And when Genzo

says the famous line, ‘‘Semajiki

mono wa miya tsukae’’ (‘‘How painful it is to ser ve a lord’’), he

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178 • KENDAI

closes his eyes. The kenbishi may also differ from one another in

their relative ﬂeshiness and size. Although there are a number of vari-

ations, ranging from leads to supporting characters, such heads

(unlike the bunshichi) are never used for villains. This emphasis on

uprightness is why his face is nearly always white.

KENDAI. The chanter’s ‘‘lectern,’’ a low, wooden, lacquered reading

stand placed before him during performances of bunraku or kabuki.

Two colored tassels hang from its front, one at each side, a light color

being used for romantic plays, a dark for tragedies. The script sits on

the ﬂat, slanted portion facing the chanter, whose mon adorns the

front. These stands must be sturdy because the chanter often leans

heavily or pounds on them. They are gifts or inheritances received by

the chanter from his master or patron.

KEREN. The ‘‘special effects,’’ including acrobatic acting, in kabuki.

(See SHIKAKE.) Actors who specialize in these effects are kerenshi

and keren plays are keren mono. Keren were used as early as

wakashu kabuki, when the young actors jumped through hoops or

walked tightropes (kumo mai), a Genroku era practice when onna-

gata used acrobatics to express a woman’s jealousy. Flying through

the air (chu

nori) also was developed for such performances. See also

ONRYO

GOTO.

Trick effects came to seem like claptrap and fell out of favor but

were revived by Onoe Matsusuke I and his successors in the kaidan

mono of Tsuruya Nanboku IV during the early 19th century. Such

inventive methods as hashi bako and butsudan-gaeshi were per-

formed in plays such as Tenjiku Tokubei Ikoku Banashi and To

kaido

Yotsuya Kaidan. Meiji-period rationalism made keren seem sens a-

tionalistic and it fell out of favor again, but it survived in Kamigata

and was revived in the postwar period by actors such as Jitsukawa

Enjaku III and Ichikawa Ennosuke III. See also HAYAGAWARI;

HON MIZU.

KESHIMAKU. Kabuki’s ‘‘disappearance curtain’’ by which, with the

help of a kurogo, a dead character exits while hiding behind a red or

black cloth. It is also used as a screen to hide an actor as he makes a

makeup or costume change. See

also

MAKU.

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KIDO GUCHI • 179

KESHO

GOE. The exaggerated, rhythmic shouting of meaningless

phrases like ‘‘aarya, ko

rya’’ or ‘‘dekke’’ by a gang of kabuki villains

opposing an aragoto hero in plays like Shibaraku and ‘‘Kuruma

Biki’’ (Sugawara Denju Tenarai Kagami).

KICHIKU. The most exaggerated category of no

masks, representing

‘‘demons and devils.’’ These masks are notable for their grimaces,

wide noses, and bulging eyes, which reﬂect the inﬂuence of Buddhist

temple statues. The kobeshimi (‘‘small frown’’) is worn by Enma,

King of Hell, in Ukai, and the o

beshimi (‘‘large frown’’) by wicked

goblins, as in Kurama Tengu and Dai-e. Unlike most no

masks,

which have open mouths, beshimi mouths are shut tight, making

breathing very difﬁcult for the actor. The shikami (‘‘scowl’’) is worn

by evil demons subdued by greater powers, as in Tsuchigumo and

Momijigari. While the beshimi convey the powerful impression of

the mouth’s clamming up, tobide present the opposite impression, of

the mouth bursting open. The kotobide (‘‘small bulge’’) is a bulging-

eye mask worn by heaven-residing deities in Arashi Yama, Kuzu, etc.,

while the o

tobide (‘‘large bulge’’) is worn by earth-residing deities,

as in Kokaji and Sessho

Seki. The shishi guchi (‘‘lion’s mouth’’) is

exclusive to the lion-like creature (shishi)inShakkyo

KIDO. In kabuki, both the ‘‘entrance’’ to Edo-period kabuki theatres

and the ‘‘wooden gateways’’ (also kido guchi) placed on stage to

rep-

resent

the entry to an interior setting. (See NEZUMI KIDO

; KIDO

GEISHA.) Theatres also had a rear entrance (ura kido) for actors and

other personnel. Well-to-do spectators avoided the kido and entered

from the shibai jaya, where they reserved their seats.

KIDO

GEISHA. The personnel employed in the Edo period to stand

on platforms near the theatre entrance (kido

) and announce kabuki

play’s title and cast to passersby. They also imitated the voices and

manners of the stars (kowairo) to create audience interest. Some even

arranged rendezvous between actors and patrons.

KIDO GUCHI. A kabuki scenic element that serves as the ‘‘wooden

gateway’’ to and from an interior setting. It represents the border

between the outside and the inside although freestanding and is set

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180 • KIGASHIRA

at a slight distance from the house proper. A number of styles exist

depending on the nature of the play and setting. When no longer of

use, it is usually removed by the kurogo. Sometimes, it may be set

up on the hanamichi at shichisan. See also KIDO

; SCENERY.

KIGASHIRA. In kabuki, the ﬁrst striking of the hyo

shigi at the conclu-

sion of a climactic speech or action toward the end of an act. For

example, near the end of the brothel scene in Gotaiheiki Shiroishi

Banashi,So

roku speaks and strikes his pipe against a bamboo recep-

tacle; at that moment, the kigashira is struck, followed by rapid beats

(kizami) as the curtain closes.

KIICHI. Male puppet head whose name is taken from Kiichi Ho

gen

in Kiichi Ho

gen Sanryaku no Maki. The kiichi is an old warrior in

jidai mono, but his head is smaller than that of the o

shuto (see

SHU

TO). With a face that expresses both moral integrity and inner

compassion, he follows his heart to the bitter end. Examples include

Honzo

in Kanadehon Chu

shingura. The face is light beige and both

the eyebrows and eyes move.

KIMURA TOMIKO (1890–1944). A rare female kabuki playwright

who wrote over 20 plays and 50 shosagoto, starting in 1926. Her

dances included such shin buyo

(‘‘New Dance’’) works as Koma and

Kurozuka, written for Ichikawa Ennosuke II.

KINDACHI MONO. A subgroup of no

’s nibanme mono category.

There are two types—those that wear the chu

mask and those

that wear the atsumori or ju

roku.

The plays are mainly about sorrow-

ful,

reﬁned young Heike clan noblemen (kindachi). The chu

worn in ﬁve plays (chu

mono). The ﬁrst four include a kakeri

dance. Tadanori, Shunzei Tadanori, Tsunemasa, Michimori, Kiyot-

sune, and Tomonaga; the Atsumori is worn in three plays: Atsumori,

Ikuta, and Tomoakira.

KI NO JO

TARO

(1747–99). Bunraku playwright and poet, born into

the Mitsui merchant family of Kyoto. He became head of the family

at 26, operating its monetary exchange business for the government

in Edo and Osaka in alternate years. Fond of Ki no Kaion’s plays,

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