Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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MAKEUP • 221

MAI MONO. ‘‘Dance plays,’’ a subdivision of the gobanme mono

(‘‘ﬁfth-group plays’’) no

category in which dance predominates: (a)

hayamai mono: seven works in which a hayamai is danced: Ama (1),

Genjo

(also Kenjo

) (1), Matsuyama Tengu, Raiden (also Tsumado)

(1, 2, 4), Suma Genji (2), Taema (1, 3, 4), To

ru (4); (b) sho

mono:

two pieces in which the sprite or elf-like creature (sho

) dances a

chu

no mai or midare: Sho

(1), Taihei Sho

(1). Numbers in

parentheses indicate other no

groupings in which these plays are

sometimes included. See also MAIGOTO.

MAINASHI MONO. ‘‘Non-dance plays,’’ a subdivision of the san-

banme mono (‘‘third-group plays’’) no

categor y containing one

work: Ohara Goko

(4). The Arabic numeral indicates the other no

grouping in which the play is sometimes included. See also DAISHO

CHU

NO MAI; DAISHO

JO NO MAI MONO; IROE MONO; TAIKO

CHU

NO MAI MONO; TAIKO JO NO MAI MONO.

MAKEUP

. Of

the f our major forms of traditional Japanese theatre,

only kabuki uses makeup (kesho

) for its actors, and it does so

according to highly conventionalized means intended to instantly

identify characters by role-type (yakugara) and speciﬁc character

qualities. Kabuki makeup ranges from the relatively realistic (in sewa

mono) to the highly stylized (in jidai mono and, especially, aragoto).

A small number of dances (such as Sanja Matsuri) also uses masks,

but these are usually meant to be seen as masks, not as substitutes

for actual faces. Characters may also appear with realistically blood-

ied faces, or with wounds expressed through symbolic means, such

as red cross marks on the face and skin to represent scars. Some plays

require quick makeup changes (hayagesho

), which may be per-

formed on stage with the help of makeup kits hidden in props, like

the large ax in Seki no To.

A white base called oshiroi is used for many roles requiring fair

skin. Mouths and eyes are heightened by lining them in variations of

red and black, and cheeks may be rouged for certain characters.

Some wicked characters have decidedly red faces (akattsura). Black

lines are applied to cheeks and foreheads to suggest age for old per-

sons. Married women and courtesans typically blacken their teeth. A

makeup called tonoko provides a pinkish ﬂesh color for many char-

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222 • MAKI

acters, while seitai provides bluish touches for freshly shaved cheeks,

chins, and crowns.

Conventional eyebrow, lip, eyeline (mebari) styles, each with its

name, are followed based on each role-type, male and female. The

most distinctive makeup is kumadori, used mainly for aragoto roles.

MAKI. A ‘‘scene’’ or ‘‘act’’ in a bunraku sewa mono, most of which

contain three, in contrast to the dan (‘‘acts’’) of jidai mono. See also

DRAMATIC STRUCTURE: BUNRAKU AND KABUKI.

MAKU. ‘‘Curtains’’ ﬁgure in no

, kyo

gen, bunraku,andkabuki.The

agemaku in no

and kyo

gen divides the dressing room from the stage.

In kabuki, it refers to the narrow curtain at the end of the hanamichi

as well as the no

-like curtain on matsubame mono sets. Kabuki did

not introduce a curtain to separate the stage from the audience until

1664; that was when multi-act plays (tsuzuki kyo

gen) began to come

into existence. (See also HANARE KYO

GEN.) This became kabuki’s

notable jo

shikimaku or hikimaku,alsousedinbunraku.Other

kabuki curtains that appeared included the drop curtain (doncho

; see

DONCHO

YAKUSHA), which was used to denote second-class

kabuki theatres but now is sometimes used in the major playhouses;

the kuro maku, the do

gumaku,

and the dandaramaku

, among oth-

ers. See also FURIDAKE.

Black borders over the stage are the mizuhiki and the ichimonji,

while black tormentors, which mask the wings, are sode maku.

Among other curtains are the keshimaku,thekasumimaku,the

asagimaku, the navy blue, crested (mon) ‘‘stage left curtain’’ (kamite

maku) below the raised chobo area, used for entrances, etc. The latter

is the agemaku in bunraku, which also has one at stage right. Cur-

tains presented by fans to the actors or theatre are ‘‘gift curtains’’

(okurimaku).

The word ‘‘maku’’ also refers to the daramaku technique of strik-

ing the hyo

shigi and to the ‘‘acts’’ into which a play is divided.

MAKUAI. The 5- to 30-minute ‘‘intermissions’’ between bunraku or

kabuki scenes or acts, not to be confused with the brief transitions

(tsunagi) between scenes when the lights are dimmed and music cov-

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MARUHON • 223

ers a scene change. Patrons eat at theatre restaurants, lounge in the

lobbies, or shop for souvenirs during intermissions.

MAKU NO UCHI. The ‘‘between the acts’’ box lunches (bento

) pur-

chased at shibai jaya by Edo-period spectators seated in the sajiki

galleries. The Kamigata term was wariko bento

. Maku no uchi now

is used throughout Japan for commercially prepared box lunches,

exclusive of any theatre connection.

MAKU SOTO NO HIKK OMI. Kabuki’s ‘‘outs ide t he cu rtai n exi t,’’

seen when the actor stands at the stage end of the hanamichi after

the hikimaku closes behind him. This allows the audience to focus

on the highly theatrical exit itself, which may involve one of the

bounding departures called roppo

or be as tragically quiet as that of

Kumagai at the end of ‘‘Kumagai Jinya’’ (Ichinotani Futaba Gunki).

A portion of the curtain is held back by a kurogo so the musicians

in the geza can watch the action.

MANAGEMENT. See KO

GYO

; NADAI; ZAMOTO.

MARUGUKE. A thick, padded cord, made in a variety of colors and

forms, worn by certain male and female characters in kabuki as an

obi or tied over the obi to keep it in place. See also COSTUMES:

KABUKI.

MARUHON. ‘‘Whole (or round) book,’’ the entire published script of

a bunraku play, in contrast to condensed or excerpt books (dan mono

or nuki mono). They were published on the ﬁrst performance of a

play. As each page had seven or eight lines, they were also called

shichi-ko

hon (‘‘seven-line books’’) and hachi-ko

hon (‘‘eight-line

books’’). The ﬁrst seven-line playbook was published in 1711. They

were also called inpon, in imitation of the Chinese way of referring

to them, and sho

hon. Excerpted playbooks containing only one act

for use in rehearsals are keiko bon and yuka hon. See also MARU-

HON MONO.

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224 • MARUHON MONO

MARUHON MONO. Kabuki plays adapted from bunraku plays, so

named because they were based on the published scripts called maru-

hon. See also DENDEN MONO; GIDAYU

KYO

GEN.

MARU MONO. Also honmaru, large, three-dimensional scenic prop-

erties, such as trees, pillars, lanterns, or even houses, i.e., things built

‘‘in the round.’’ See also HANMARU; SCENERY.

MASAMUNE. Male puppet head resembling the kiichi and used for

serious, older, professional men—including former samurai—like

the swordsmith Masamune in Shin Usuyuki Monogatari or the priest

Gappo

in Sesshu

Gappo

ga Tsuji. The face is light beige and has a

movable mouth and outer eyebrows.

MASKS: KYO

GEN. Kyo

gen uses masks (kyo

gen men or omote)in

about 50 plays but without the systematic conventions of no

;the

same mask may be found in a number of plays. Most kyo

gen masks

are unique to the genre but a few no

masks have been adapted for

kyo

gen use, although with happier, funnier, or more grotesque quali-

ties than their originals. (See MASKS: NO

.) There are about 20

types. Masks for human (ningen) characters are the homely, fat

woman (oto) also used to represent a Buddhist image in Busshi; the

old woman (ama, fukure, and oryo

);

and

the old man (o

ji). Most kyo

gen masks, however, are for nonhumans:

• shinbutsu: ‘‘gods and Buddhas,’’ named for particular deities.

• oni: spirits, such as the buaku (used in all demon roles, including

Enma, king of hell), usofuki, hanahiki. Unlike those of no

, which

are fearsome, these combine a sense of power with a touch of

humor or silliness. The buaku has a large, ﬂaring nose, drooping

eyelids, grinning teeth biting the lower lip, etc. The usofuki

(‘‘whistler’’) has an expression composed of a wrinkled face,

exaggeratedly pursed lips with a tuft of beard beneath, and eyes

that are either crossed or upward staring. It can be used for the

spirits of mosquitoes, octopuses, locusts, pine resin, and so on.

• do

butsu: animals, such as foxes, monkeys, dogs, badgers, ox,

and kites. Even mushrooms, fruits, and nuts will wear a mask. A

number of creatures, such as dogs, crabs, horses, and mush-

rooms, are represented by the kentoku, whose exaggeratedly

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MASKS: NO

• 225

comical features are rather human, with large, round eyes that

stare upwards and a grinning mouth. The kentoku is also worn in

aikyo

gen where the ai is the spirit of a ﬁsh or a minor goblin.

Foxes and monkeys wear masks closely resembling such ani-

mals.

• okina.

• bo

rei (ghosts).

A towel or hood is worn over the mask, unlike no

masks, which

use a wig. The mask in kyo

gen is sometimes worn to trick someone

else, so it does not necessarily represent—as in no

—the wearer’s true

character. Unlike no

, beautiful young women are unmasked (hita-

men), their femininity being suggested by the white, towel-like tur-

ban (binan) they wear; comically masked females do not wear it (see

WIGS: KYO

GEN AND NO

). Maskless actors use their faces as

masks, but in a more openly expressive manner than in no

Kyo

gen actors also wear masks when playing Sanbaso

in Okina,

andwhenactingasgodsintheaikyo

gen portion o f hatsubanme

mono.

MASKS: NO

. Generally referred to as no

men but technically called

omote, they are vital to no

performance, where only the shite and

shitezure (see TSURE) actors wear them. Even these actors are

unmasked when playing male characters in genzai mono. Shitazure

wear masks only when playing women, blind persons, or supernatu-

ral beings. Each of the latter types always is masked. Certain kyo

gen

roles

also

wear masks (see MASKS: KYO

GEN). Most masks bear a

neutral expression that allows the angle at which the face is held,

combined with the actor’s gestures, to suggest a wide range of feel-

ings.

Technical names for the ways in which the mask is used include:

omote o tsukau (‘‘using the mask’’), moving the masked face as if

looking at something; motoe o kiru (‘‘cutting the mask’’), moving the

masked face in a brisk, ﬁrm manner; kumorasu (‘‘shading the face’’),

expressing thoughtful sadness by looking downward; and terasu

(‘‘making shine’’), when the masked actor looks up. Shioru (‘‘wilt’’

or ‘‘fade’’) suggests weeping.

All masks are associated with speciﬁc character types, by which

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226 • MASKS: NO

they are known. Masked characters may be male or female, living or

dead, mortal or supernatural, young or old, and of any class, from

peasant to noble. Unmasked characters (see HITAMEN) are typically

those conceived of as living mortals.

Masks are carved from blocks of Japanese cypress (hinoki); pau-

lownia (kiri) is used as well, but rarely. The mask is then painted.

Masks have sacred proper ties for no

actors and are considered to

embody all the characteristics of the roles for which they are worn.

The okina mask is believed to be especially divine.

During the days of sarugaku, when masks were used for ritual

purposes, and were presumably carved by Buddhist priests, they nor-

mally depicted deities or spirits, or, when showing humans, old peo-

ple or persons from distant lands; these masks lacked the human

expressiveness with which no

masks came to be imbued. Inﬂuences

are said to have come from China and Tibet. Early female masks

were for temple maidens and heavenly beings, not actual women.

Masks for female roles, which many consider representative of no

actually date from a later period. The ﬁrst phase of great mask carv-

ing goes back to the Kamakura period, whose representative carver

was Shakuzuru Yoshinari of O

mi, famed for his masks of spirits and

demons. Other famous mask makers of the distant past included

Nikko

and Miroku (credited with the okina mask), Zazen’in of Uji,

Chigusa, Ishio

hyo

e, Tatsuemon, Yasha, and so on.

Mask making was perfected in the artistic heyday of no

during the

Muromachi and Higashiyama periods, when many great car vers

appeared and created the basic types we see today. The 15th century

saw the establishment of professional mask-carving schools headed

by family masters.

Masks increasingly reﬂected the principles of Zen Buddhism prac-

ticed by the reﬁned audiences who attended performances. Gradu-

ally, they lost the qualities of individuality and took on more neutral

qualities. The masks made during the Momoyama and Edo periods

were essentially copies, although these old masks are revered today,

and many are of museum quality. These masks only came to the

attention of the West in 1925—and to Japanese scholars as well—

following the appearance of Japanische Masken: Noh und Kyo

gen

(Japanese Masks: No

and Kyo

gen), a scholarly German book by

Friedrich Perzynski.

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MASKS: NO

• 227

The mask is held on the face by means of a cord attached to small

holes at either side; the cords are tied behind the head. Padding inside

the mask may be used to help it ﬁt the face properly. Prior to putting

the mask on, the actor holds it before him at arm’s length in the

kagami no ma, staring intently at it from different angles to help him

embody its innate characteristics in performance. This is his principal

method of assuming the role before a performance.

masks have been s tric tly s tandar dized s ince the Edo period.

The numerous ones available have been classiﬁed according to dif-

ferent methods. The selection of the mask from among the possible

variations of the same basic type is often the clue to the actor’s inter-

pretation of a role. Different copies of the same basic mask can

express unique emotional qualities. Often, the school of no

deter-

mines the choice. Thus, while the zo

is the standard young woman’s

mask for the beautiful angel in Hagoromo, the actor may also choose

the waka onna or ko omote. The zo

is said to have a quality of strong

intelligence perfect for roles of angels or female deities, the ko omote

expresses purity and sweetness, and the waka onna conveys a certain

voluptuousness. Each mask, moreover, is considered to have a spe-

ciﬁc ‘‘level of dignity’’ (kurai), which the actor takes into account in

making his selection.

Scholars differ regarding how many mask types there are, some

going as high as 450, although the variations among many of these

are quite small. A number of masks are worn for only one role, and

bear the characters’ name. These tokushu (‘‘unique’’) masks include

the shunkan, the kagekiyo, and the yorimasa. The kagekiyo is one of

several blind men’s (mo

moku) masks, the others being the semimaru

and the yoroboshi, although the character called Shuntokumaru

wears the latter. The okina, which appears in a famous ritual-like play

of that name, is unlike other no

masks in its having a movable jaw.

(For other major mask types and their subtypes, see JO

; KICHIKU;

ONNA; ONRYO

; OTOKO; RO

BA; SHINBUTSU.)

Apart from those named for the roles that wear them, mask names

are based on a number of things. For example, some, like the koshi-

, come from the names of playwrights. Thus, the zo

for a pretty

young woman is based on the name of the dengaku playwright

ami,

who

is thought to have conceived it. Or the mask’s expression

may give it its name, like the warai-jo

(‘‘laughing old man’’). Other

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228 • MASU

names may be based on linguistic corruptions, like the various be-

shimi masks, whose expressions show grimacing lips. It is thought

that beshimi is a corruption of ikimi, meaning ‘‘strain.’’

Many masks can be used in different plays as determined by the

actor. The chu

jo gets its name from a Heike clan nobleman’s rank,

so the Heike nobles in Tadanori, Kiyotsune, and Michinori may wear

it. The ko-omote, the mask for a sweet young woman, is suitable for

plays like Yuya and Matsukaze, while the somewhat similar deikan

has gold dust painted in the eyes, suggesting jealousy, and thereby

limiting it to roles like the jealous Lady Rokujo

in Aoi no Ue. The

same play shows Rokujo

from a new perspective after her jealousy

turns her into an evil demon and she appears in the frightening han-

nya, with its gold horns and ﬁendish grimace. This mask may also be

worn by jealous women in other plays. As these examples suggest,

masks combine both symbolism and realism, which, together with

the skilled actor’s movements, provide a range of subtle expressions

and feelings to be communicated.

MASU. The square, partitioned boxes, resembling a ‘‘measure of rice,’’

and located in the doma of Edo-period theatres. T hey began to

replace undifferentiated pit seating either in Osaka around 1750 or at

Edo’s Nakamura-za in 1766. Ropes were replaced by wooden parti-

tions in 1772. At ﬁrst, each box held six or seven people, but they

gradually decreased in size so that only four could sit comfortably in

them. They were omitted after the Great Kanto

Earthquake of 1923,

when Western-style seating became the rule.

MASUYAMA KINPACHI. Three generations of kabuki playwrights.

Kinpachi I was active as a gassaku collaborator in the late 18th cen-

tury, mainly in Edo but for a few years in Osaka. His major contribu-

tion was the creation of the ﬁrst akuba role, in 1792.

MATAHEI. Male puppet head named for the straightforward, honest

stutterer Matahei in Keisei Hangonko

. Others who use it include

Yojiro

in Chikagoro Kawara no Tatehiki. The beige face is simple

and open, even crude, and can move its mouth and the outer sides of

its eyebrows.

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MATSUMOTO KO

SHIRO

• 229

MATSUBAME MONO. A group of kabuki dance dramas (some later

adapted by bunraku) using a set based on the no

stage, with a paint-

ing of a pine tree on the rear wall (matsubame means ‘‘pineboard’’),

a striped agemaku at stage right (but without a hashigakari), and a

kirido guchi upstage left, among other reminders of no

. The propor-

tions of the no

stage are exaggerated to ﬁt the dimensions of kabuki’s

stages. Music is provided by a nagauta ensemble seated upstage on

hinadan platforms (see DEGATARI). Most matsubame scri pts a re

relatively close adaptations of no

or kyo

gen originals, but a few are

new plays written to resemble the old style. (Not all pieces based on

or kyo

gen use the matsubame style, though.) See also BUYO

Although no

and kyo

gen had long inﬂuenced kabuki dramaturgy,

the ﬁrst play that sought to adapt the actual performance methods of

the earlier styles was Kanjincho

(1840). The practice did not catch

on, however, until the Meiji period, and it ran its course in the Taisho

period, by which time the major contributions had been produced.

Good examples in no

style include Tsuchigumo, Ibaraki (not based

on a no

original), Hagoromo, and Funa Benkei, while kyo

gen exam-

ples include Tsurigitsune, Suo

Otoshi, Tsuri

Onna

, Sannin Katawa,

shibari,andMigawari Zazen. See also PLAY CATEGORIES:

BUNRAKU AND KABUKI; SHOSAGOTO.

MATSUI SHO

(1870–1933). A director, scholar, critic, and shinpa

and shin kabuki playwright who wrote for Ichikawa Sadanji I and

Sadanji II. He belonged to the ﬁrst wave of playwrights who came

from outside the traditional kabuki world so he was not well treated

by that establishment’s writers at ﬁrst. Sho

studied abroad from

1906 to 1909, when he and Sadanji II took over the Meiji-za and ran

it along European lines. Sho

soon quit, but he was active in a num-

ber of important new theatrical ventures.

MATSU KANSHI (?–1798). Bunraku playwright who ran a shibai

jaya in Edo’s Fukiya-cho

district, and became the most proliﬁc Edo

puppet theatre dramatist, although playwriting was his avocation.

The eight plays he collaborated (gassaku) on include Koi Musume

Mukashi Hachijo

and Meiboku Sendai Hagi.

MATSUMOTO KO

SHIRO

. Nine generations of kabuki actors. Yago

raiya (Ko

shiro

IV–IX). Ko

shiro

I (1674–1730) was originally a

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230 • MATSUMOTO RYU

player of young men and women, but evolved into one of the top Edo

tachiyaku, standing out in aragoto and jitsugoto.Ko

shiro

II became

Ichikawa Danju

IV and Ko

shiro

V became Danju

shiro

IV (1737–1802), after playing i n both Edo and Kyoto,

joined the family of Danju

IV, held various names before becom-

ing Ko

shiro

, but gave that name to his son in 1801 and became Ome-

gawa Kyo

. From 1778, he was one of Edo’s greatest leading men,

his strengths including wagoto and katakiyaku.

shiro

V (1764–1838) developed into a great and highly inﬂuen-

tial tachiyaku with a specialty in playing katakiyaku. Called Hana-

taka (‘‘High Nose’’) Ko

shiro

because of his big nose, he excelled in

the new kizewa mono genre.

shiro

VII (1870–1949), one of the greatest modern stars, was

the adopted son of dance master Fujima Kanemon II (see FUJIMA

RYU

), and studied with Ichikawa Danju

IX. He became Ko

shiro

VII in 1911. He performed Benkei in Kanjincho

over 1,600 times.

shiro

VII

as a jidai mono specialist, and was outstanding in ara-

goto. He was involved in various progressive projects, such as the

ﬁrst Japanese opera and the ﬁrst mixed-gender kabuki casts. His sons

were Ichikawa Danju

XI,Ko

shiro

VIII, and Onoe Sho

roku II,

the top postwar stars.

shiro

VIII (1910–82) took the name in 1949. He followed the

line’s specialization in jidai mono and was renowned as Yuranosuke

in Kanadehon Chu

shingura. He often appeared in non-kabuki the-

atre, including Shakespeare. He and his sons defected from Sho

chi-

ku to To

in 1961, and became independent in 1972. In 1975, he

was made a National Living Treasure and, in 1976, a member of the

Nihon Geijutsuin (Japan Arts Academy). In 1981, he took the name

Matsumoto Hakuo

so his son could be named Ko

shiro

IX (1942–).

That actor and his brother, Nakamura Kichiemon II, are among

today’s top stars in and out of kabuki. His versatility is marked by

his work in Shakespeare and musical theatre; he even played Man of

La Mancha on Broadway in English.

MATSUMOTO RYU

. The ‘‘Matsumoto school’’ of kabuki buyo

(see

BUYO

NO RYU

HA) associated with the acting line of Matsumoto

shiro

. Ko

shiro

VII also headed the Fujima ryu

and

as a master

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