Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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KINPIRA JO

RURI • 181

he took the name Ki no Jo

taro

and wrote plays as a sideline, both

independently and in collaboration (gassaku), for Edo’s puppets

while stationed there for business. Of his ﬁve plays, the masterpiece

is Gotaiheiki Shiroishi Banashi. He retired in 1784 but his family cut

him off in 1796 and he became a priest.

KI NO KAION (1663–1742). Bunraku playwright who used various

names to sign his plays. Born into a family of poets who owned an

Osaka pastry business, he spent much of his youth serving the Bud-

dhist religion and later was an Osaka physician and poet, becoming

a playwright in partnership with Toyotake Wakatayu

, the head

chanter of the Toyotake-za, which led to that theatre’s fortunes

being revived. It is not certain when he wrote his ﬁrst play, but Keisei

Kaneko, written in 1702, and Shinju

Namida no Tamanoi, in 1703,

may have been his. His earliest certiﬁable play came in 1707, with

Wankyu

Sue no Matsuyama; his last was written in 1723, after which

he ran his family’s pastr y business before retiring to a hermitage.

Why he left the theatre is not known, although his departure is very

close to the year of the death of his great rival, Chikamatsu Mon-

zaemon. In total, he wrote over 50 plays, the 10 best being sewa

mono.

When Chikamatsu wrote Shinju

Yoi Go

shin in 1722, Ki wrote a

play on the same subject, Shinju

Futatsu no Haru Obi, which was

considered superior. His plays are noted for their skillful plotting and

their intellectual depth, displaying Ki’s knowledge of religion, litera-

ture, and science. Chikamatsu’s more lyrical style was contrasted

with his clarity of thought and expression and frequent privileging of

duty (giri) over emotional need (ninjo

KINPIRA JO

RURI. Also kinpira bushi, a highly popular subgenre of

ko jo

ruri created in Edo by chanter Izumidayu

(Sakurai Tanba no

) sometime in the mid-1650s, possibly after the great Edo ﬁre of

1657 when the populace was hungry for distraction from the catas-

trophe’s effects. The plays, written by Oka Kiyobei, focused on the

deeds of Sakata Kinpira—the superhuman, brash, and fearless war-

rior son of the superhero Sakata Kintoki—and his dauntless compan-

ion, Taketsuna. Unlike earlier dramatic works based largely on the

medieval conﬂicts between the Heike and Genji clans, these plays—

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182 • KINSHU

inspired by a no

play called Sakanomi Do

ji—privileged imaginary

characters and times over historical chronicles. During the perform-

ance, Tanba no jo

beat time with a thick, two-foot metal rod. He is

said to have crushed papier-ma

che

properties with it and to have

ripped off puppets’ heads during emotional climaxes. These crudely

powerful ﬁctions in praise of human power rejected the view of man

in earlier jo

ruri as essentially powerless and transient, and perfectly

suited the Edo samurai atmosphere.

Kinpira jo

ruri, which fell out of favor in 1664, but did not vanish

until the turn of the 18th century, also was important in the establish-

ment by Ichikawa Danju

I of kabuki’s heroic aragoto. Despite

its crudeness, kinpira jo

ruri opened a new period in which creative

playwriting was welcomed.

KINSHU. Also kinkata in Edo and ginshu, ginkata,orshuchi in Kami-

gata, the ﬁnancial backer who supported Edo-period kabuki produc-

tions. Zamoto were the formal producers, but they had to rely for

ﬁnancing from these businessmen or brothel owners who often exer-

cised artistic authority. Often, several pooled their resources. Addi-

tional money was occasionally raised from actors, cho

moto,and

shibai jaya, among other theatrical sources. See also KO

GYO

KINTOKI. A male puppet head used mainly for short-tempered, vil-

lainous old samurai in jidai mono,likeKajiwarainIchinotani

Futaba Gunki and Genba in ‘‘Terakoya’’ (Sugawara Denju Tenarai

Kagami). It has a cruel, determined expression, with pulled-down,

tightly clenched mouth, sharp cheekbones, and ﬁercely glaring eyes.

Some kintoki have movable eyes and eyebrows and some do not, but

the latter are considered to have a more powerful expression. The

name comes from the superman Sakata Kintoki, so popular in

kinpira jo

ruri.

KIRI. Also

called kiriba

, the ‘‘ﬁnal’’ par t of the second, third, and

fourth acts of a ﬁve-act bunraku play, the part deemed, dramaturgi-

cally, the most important or climactic. In the early days of gidayu

bushi, it was called oku (‘‘within’’) and tsume (‘‘ﬁnale’’). In those

days, the top one or two chanters in the company performed such

scenes but, gradually, each kiri was assigned to different chanters.

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KIRI KYO

GEN • 183

Moreover, it was possible to divide each kiri into sections: kuchi

(‘‘opening’’), naka (‘‘middle’’), and kiri. See also DRAMATIC

STRUCTURE: BUNRAKU AND KABUKI; SAN NO KIRI.

At ﬁrst, the kiri of the prologue (daijo) and Act 3 were number one

(dai-ichi), and the kiri of the fourth act and the michiyuki were num-

ber two (dai-ni), but later, depending on the chanters’ abilities, the

kiri of the third and fourth acts became the most important.

The chanter allowed to perform the kiri—a major honor—is the

kiri(ba)gatari; kiri is written above his name in the program. When

such a chanter performs a non-kiri scene, the word is not used nor is

it printed if a chanter who is not a designated kiri chanter chants such

a scene. Instead, such words as oku (‘‘inner’’) or ato (‘‘after’’) are

provided. See also OCHIAI.

KIRIDO GUCHI. Also kirido, okubyo

guchi (‘‘coward’s door’’), and

wasure guchi, the small doorway upstage left on the no

stage and in

kabuki matsubame mono. Kamigata kabuki uses the agemaku

entrance downstage beneath the raised yuka room. The low opening

forces those who use it to bend over. In no

, it is used by the jiutai

and ko

ken. Characters who have been killed or wounded may also

exit through it, and the ko

ken may use it to retrieve something that

has been forgotten; thus, its alternate name of wasure guchi (‘‘forget-

ting door’’).

KIRIKUMI. No

pla

‘‘ﬁght scenes’’ in which weaponry is used by two

or more characters. They are less prominent in no

(where they are

most common in genzai mono) than in kabuki, where they are called

tachimawari. A number of nibanme mono show ghostly warriors

using weapons but these are one-person memory scenes and not kiri-

kumi. Kirikumi use swords or halberds (naginata), especially the lat-

ter. A famous naginata scene occurs in Funa Benkei when

Tomomori’s ghost attacks Yoshitsune’s boat. Large-scale combats

useupto10ﬁghtersinYouchi Soga and Sho

zon.Thelatteralso

includes ﬁghting by a woman, Shizuka Gozen. Kirikumi are maigoto

of the hataraki type.

KIRI KYO

GEN. A Kamigata term for the ‘‘closing piece’’ on an Edo-

period kabuki program, originally coined for the sewa mono that

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184 • KIRIOTOSHI

were added to jidai mono to complete a day’s bill at a time when the

sewa mono was still related in subject and characters to its predeces-

sor on the program. When sewa mono began t o receive critical

respect, they ceased being called kiri kyo

gen and were named

nibanme mono.(See ICHIBANME MONO.) In the 1750s, when pro-

grams began to present unrelated jidai mono and sewa mono, the pro-

gram usually concluded with a one-act dance, which was now called

kiri kyo

gen. See also O

GIRI.

KIRIOTOSHI. A Kamigata term for a section of old-time kabuki the-

atres’ ground ﬂoors. T he eq uivalent Ed o term was hiradoma.The

earth-ﬂoored area, originally in front of the stage, gradually grew

smaller and eventually disappeared.

KIRISHITAN MONO. Bunraku and kabuki plays on ‘‘Christian’’

themes. Christianity, which appeared in Japan in 1550, was pro-

scribed in 1638, and the theatre was not allowed to deal with it

although there are a tiny number of works that did, including a 1666

ko jo

ruri work. This and later plays alluded to the Shimabara rebel-

lion of 1637, which led to 37,000 converts to Christianity being

killed. When Christianity was reintroduced as a theme during the

early Meiji era, the Shimabara rebellion was the usual subject.

KIRITAKE MONJU

II (1900–70). Bunraku puppeteer who

became a disciple of Yoshida Bungoro

III at nine. He held two other

names before becoming Monjuˆro

II in 1927. When bunraku split

into two postwar factions, he belonged to the Mitsuwa-kai (see CHI-

NAMI-KAI). The ﬁnest manipulator of female puppets of his genera-

tion, and a man devoted to spreading knowledge of bunraku,he

became a National Living Treasure in 1965.

KIRI-ZA. An Edo-period kabuki theatre best known as a hikae yagura

for t he Ichimura-za, but whose origins are vague although some

believe them to have been connected to female dancers from Izu and

Sagami who needed a venue for women’s performances. It replaced

the Ichimura-za from 1784 to 1792, 1793 to 1803, and 1816 to 1830.

It was reopened as an independent theatre in 1873 in Yotsuya, Tokyo,

and moved in 1889 to Shintomi-cho

, but did not last long.

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KITA RYU

• 185

KISERU. The ‘‘pipes’’ that are important bunraku and kabuki proper-

ties. Many male and female characters, young and old, smoke during

their time on stage. The pipes have long stems and small bowls,

allowing for only a few puffs, and the business of lighting them,

smoking, and tapping out the ashes in a brazier offers considerable

opportunity for interesting acting moments. The pipes are normally

quite realistic, but some plays use exaggeratedly oversized ones for

theatrical effect.

KITA ROPPEITA NO

SHIN (1874–1971). No

master who was only

10 when, in 1882, he became the fourth so

ke of the Kita ryu

.He

debuted the following year as the kokata in Kurama Tengu. Trained

by a succession of important masters, he struggled to revive the

ﬂagging fortunes of his school. He became Kita Roppeita in 1894

and, the same year, built the Kita stage in Iida-cho

(destroyed during

the Great Kanto

Earthquake of 1923); built the Kita No

gakudo

Yotsuya in 1927 (ﬁrebombed during 1945); and built another Kita

gakudo

in Meguro in 1955 (later named the Kita Roppeita Kinen

gakudo

). In 1946, he was elected to the Nihon Geijutsuin (Japan

Arts Academy).

Small of stature, he nevertheless acted with deep intelligence and

creativity. He was close to 90 when he retired.

KITA RYU

. The ﬁfth and ﬁnal school of no

shite actors to be founded,

an event that happened under the aegis of Kita Shichidayu

Osayoshi

(or Cho

no) (1586–1653), an actor in the Kongo

ryu

who broke away

in 1620 to found the Kita school. In 1623, at the ceremonial perform-

ance honoring Tokugawa Iemitsu’s accession as third shogun, the

participants included what were called the four ofﬁcial za and one

ryu

, the Kita, an indication of the latter’s recognition by the shogun-

ate. For a time in his youth, he had served as tayu

of the Kongo

but

after being a part of the defeated Toyotomi Hideyoshi’s Osaka reti-

nue, he retired. He later returned, receiving the support of Tokugawa

Hidetada.

A ryu

being

occupied only by specialists in one kind of perform-

ance, lacked the organizational structure of a za, so Shichidayu

wel-

comed amateur actors into his school. Recognition of his son led to

the birth of the Kita ryu

. By absorbing many of those amateurs who

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186 • KITSUKE

loved no

,Shichidayu

was able to build his ryu

into an important

force. After the overthrow of the shogunate in 1868, the za were con-

verted into ryu

and came to be called ryu

gi.Aryu

gi contains not only

shitekata,butwakikata, hayashikata,andkyo

genkata (see

ACTORS), so it much like a reversion to the old-time za. See also

SHO

RYU

; KANZE RYU

; KONGO

RYU

; KONPARU RYU

KITSUKE. The outermost kimono, a garment usually worn in several

layers. Kitsuke thereby form the basic male and female costume in

traditional Japanese theatre. Undergarments are shitagi. Additional

garments are often worn over the kitsuke, among them the man’s suo

and the woman’s uchikake.

KIYOMOTO BUSHI. One of the principal types of kabuki jo

ruri,

founded in 1814 by Kiyomoto Enjudayuˆ. It is derived from bungo

bushi (as were tokiwazu and tomimoto). Kiyomoto is a representative

of Edo music, comprising a number of earlier schools. Its singing is

high-pitched, nasally resonant, and somewhat feminine in tone. Emo-

tion and atmosphere are its primary effects. It uses the chu

zao

(‘‘medium neck’’) shamisen, which offers a gentle, nonintrusive

sound

that

privileges the singing. Kiyomoto is heard in both dance

and straight plays and is particularly apt for michiyuki, where it pro-

vides a narrative background and character depiction. Representative

kiyomoto dramas are ‘‘Naozamurai’’ (Kumo ni Mago

Ueno no Hatsu-

hana), Kosode Soga Azami no Ironui,andAkegarasu.Itsmany

dances include Sanja Matsuri, Kanda Matsuri, Kasane, Ochiudo,

Yasuna, etc.

KIZAMI. In kabuki, the rapid beating of the hyo

shigi, when the hiki-

maku opens or closes. Just before the curtain opens, two loud cracks

are produced. As it opens, the beating gradually grows faster. When

an act ends, the kigashira is struck and the hyo

shigi speed up.

KIZEWA MONO. Also kizewa kyo

gen and masewa mono, the ‘‘pure’’

or ‘‘raw’’ kabuki sewa mono that arose in the early 19th century as a

realistic reﬂection of lower-class Edo life, whose unsavory characters

are vividly depicted. The chief progenitor was Tsuruya Nanboku

IV. No matter how realistic, these plays maintain many theatrical

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GA JU

SHU • 187

conventions, such as musical accompaniment and rhythmic dialogue.

They often mingle the sekai of jidai mono within a contemporary

framework, a classic example being To

kaido

Yotsuya Kaidan. Nan-

boku IV was succeeded by Segawa Joko

III and Kawatake Moku-

ami, especially the latter, whose Tsuyu Kosode Mukashi Hachijo

a classic example. See also PLAY CATEGORIES: BUNRAKU AND

KABUKI.

DAN. Also ko

shaku, an Edo-period one-man storytelling art, per-

formed in variety theatres (yose), and—like the related rakugo—

providing abundant source material for kabuki plays during the 19th

century. These moralistic stories began to deal with everyday people

during the 18th century, their heroes often being otokodate, samurai,

lawsuits, ghosts, and bandits.

KODANSHICHI. A male puppet head, one of two danshichi types

(see also O

DANSHICHI). This ‘‘small Danshichi’’ is smaller than the

danshichi, is beige, and does not have movable eyebrows, but does

have movable eyes. The face looks mean but the character eventually

has a reversion from bad to good (modori), an example being Gonta

in ‘‘Sushiya’’ (Yoshitsune Senbon Zakura). Danshichi, the head’s

namesake, in Natsu Matsuri Naniwa Kagami is another.

KODOMO SHIBAI. Also chinko shibai, the ‘‘children’s kabuki’’ popu-

lar in the Edo period, especially in Osaka, and that had a revival in

the early 20th century in Tokyo. In the mid-18th century, there were

three professional troupes in Osaka. An unusual development arose

in 1788 with the appearance of the kubifuri shibai (‘‘gooseneck the-

atre,’’ referring to head movements) in which boys pantomimed pup-

pet plays as a chanter performed the text. Kodomo shibai proved an

important training ground for many stars.

GA JU

SHU. A collection of kabuki plays with mainly wagoto

heroes selected as ie no gei specialties by Sawamura

XII

They are Karukaya Do

shin Tsukushi no Iezuto, Ise Ondo Koi no Neta-

ba, Shinrei Yaguchi no Watashi, Suzuki Mondo, Honcho

Niju

shiko

Chu

setsu Meoto Matsu, Kinokuni Bunza Daijinmai, Wakagi no Ada-

nagusa.

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188 • KOGAKI

KOGAKI. The ‘‘small writing’’ or ‘‘ﬁne print’’ found under the left side

of the play title in no

printed programs indicating performance varia-

tions that have been established as optional interpretations. Hagoro-

mo might have such information as ‘‘wago

no mai,’’ ‘‘saishiki no

den,’’ or ‘‘wakidome,’’ each of which indicates a particular perform-

ance variation. Such performances may be called kogaki, kogaki no

or kogaki tsuke no

. The variations can be in any aspect of the per-

formance, from the script to the masks. For example, a kogaki for

-ji is known as godan no mai (‘‘ﬁve-scene dance’’), which

requires that another two sections extend the play’s usual three-sec-

tion dance. The variations might signiﬁcantly alter a play or they may

be minor. Audiences familiar with the standard methods often ﬁnd

seeing kogaki variations—even slight ones like the use of a different-

colored wig—interesting becaus e of t he ir di ffer ence from what is

familiar. Although traditionally limited to a speciﬁc school of no

they now often cross the border from one school to another. And

schools with various branches have variations among them. Kogaki

are rare in kyo

gen.

GYO

. Kabuki ‘‘production’’ or managerial practices. Early kabuki

began as a kind of kanjin performance designed to raise funds for

charitable purposes but soon became commercialized as entrepr e-

neurial individuals (kanjinmoto), the ﬁrst producers, appeared to

make performances proﬁtable. The laissez-faire policies of the early

years, however, were soon highly regulated by the Tokugawa shogun-

ate. Edo’s ﬁrst licensed theatre, the Saruwaka-za, was constructed in

1624 by Nakamura (Saruwaka) Kanzaburo

I, its authority symbol-

ized by its yagura tower. By the Genroku era, Edo had four major

theatres (o

shibai), but this was reduced to three (the edo sanza) after

the 1714 Ejima-Ikushima incident forced the Yamamura-za to

close down; remaining were the Morita-za, Ichimura-za,and

Nakamura-za.

When

ﬁnancial pressures forced one of them to close

down, its license was assumed by an ‘‘alternate management’’ (hikae

yagura). Osaka and Kyoto also had four theatres each during the

Genroku era but by the mid-19th century, each had only two, Kyoto

with one each on the north and south sides of Shijo

Street, and Osaka

with its Naka-za and Kado no Shibai in Do

tonbori.

Small theatres (koshibai and miyaji shibai) also operated, mainly

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KOITSUKAMI • 189

on shrine and temple grounds, under various restrictions, and often

provided serious competition to the o

shibai.

Managers in Edo (principally the fa mili es of Naka mura Ka nza-

buro

, Ichimura Uzaemon,andMorita Kanya) held hereditar y

licenses and were called zamoto or tayu

(also tayu

moto), while those

in Kamigata were the non-hereditary nadai or, in a different sense

than that in Edo, zamoto.(See SHIUCHI.) In both areas, managers

had to depend on the ﬁnancial backing of wealthy b ackers called

kinshu.

Edo-period performances generally ran from dawn to dusk. In

1878, the Shintomi-za (see MORITA-ZA) introduced evening pro-

grams, which became common when electricity was available. Mati-

nees joined theatre schedules in 1912 at the Teikoku Gekijo

but this

was altered some time later to a twice-daily bill (nibusei), with runs

being about 25 days long, and programs changing monthly. See also

MIDORI; TO

SHI KYO

GEN.

The Edo-period season was organized around regular annual

events (shibai nenju

gyo

ji). A typical season opened in the 11th lunar

month and ended in the 10th lunar month. The season’s opening pro-

duction was the kaomise, designed to display the new company

rather than to offer a work of dramatic quality. In Edo, it was usual

for a new version of Shibaraku to be given at each theatre on this

occasion. Often, a brief end-of-the-year program featuring support-

ing actors was produced between the ending of the kaomise and the

opening of the second main production, the New Year’s production

called hatsuharu kyo

gen in Edo and ni no kawari in Kamigata. In

the 3rd month came the spring program called yayoi kyo

gen in Edo

and san no kawari in Kamigata. Then came the 5th month’s satsuki

kyo

gen. Although theatres frequently closed for the hot 6th and 7th

months, the summer began to be used at the turn of the 19th century

for natsu

gen, which used secondar y actors and charged low

admission prices, many of the plays being about ghosts (kaidan

mono). In the 9th month came aki kyo

gen, and these were followed

in the 10th by onagori kyo

gen (see AKI KYO

GEN).

KOITSUKAMI. The ‘‘carp grappling’’ sequence in certain kabuki plays

in which a hero battles under water with the spirit of a giant carp

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190 • KO

(played by a costumed actor). Such scenes were once popular in

natsu kyo

gen using real water (hon mizu).

. Any one of a number of different public announcements made

during a kabuki play, by an actor or to

dori. These are often ceremo-

nious, as when an actor publicly takes a new name (shu

mei), is pro-

moted in status, is remembered in a memorial service (tsuizen) and

performance, etc. Sometimes a ko

is allowed to interrupt a play in

progress; other times, it is held as a special ceremony between scenes

or plays. During the Edo period, there were many kinds of ko

that

have since been abandoned.

KOJO

RURI. ‘‘Old jo

ruri,’’ the puppet theatre during the six decades

from the 1620s to the creation of gidayu

bushi in1686 when Takemo-

to Gidayu

chanted Chikamatsu Monzaemon’s Shusse Kagekiyo.It

comprises a number of Edo-based styles, such as kinpira jo

ruri, and

Kamigata styles such as itchu

bushi, among many others. Gidayu

bushi was originally differentiated from ko jo

ruri by the terms shin

ruri (‘‘new jo

ruri’’) or to

ryu

ruri (‘

‘up-to-date jo

ruri

’’). Also con-

tributing to the development of jo

ruri was the didactic sekkyo

bushi.

Beginning in the 1620s, many rival chanters appeared in Kyoto,

Osaka, and Edo, each with his own school of jo

ruri. Until the mid-

1650s, the Edo puppet theatre enjoyed great success, with the ﬁnest

innovators being Sugiyama Shichiro

zaemon (Tango no jo

), who went

to Edo in 1616 from Kyoto, and Satsuma Jo

un, who went there from

Sakai in 1624. They were the founders of Edo jo

ruri. The former was

a disciple of Takino Kengyo

, whose ‘‘ﬂexible’’ (yawarakai) tradition

he faithfully carried forward, while Jo

un followed the ‘‘stiff’’ (katai)

traditions of Sawazumi Kengyo

, which was favored in the militaristic

atmosphere of Edo and overcame Tango no jo

’s approach. See also

SHAMISEN.

From each school emerged many talented artists and new styles.

Thus, Tango no jo

’s son, Inosuke, called Edo Hizen no jo

, created

hizen bushi, and from his disciples came Edo Handayu

, who pro-

duced handayu

bushi, while from Handayu’s pupils came Masumi

Kato

and kato

bushi.

un specialized in bombastic war stories using large-size string

puppets. His 1634 play Hanaya, says Keene, represents ‘‘the ﬁrst

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