Leiter S.L. Historical Dictionary of Japanese Traditional Theatre
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OKURI MAKU • 291
Toraakira Bon, its contents are more polished and are practically the
same as those now being performed.
During the Meiji and Taisho
ˆ
periods, Tokyo was home to Yama-
moto To
ˆ
jiro
ˆ
I (1836–1902), who came from the Nakagawa clan of
Bungo Province, while Kamigata claimed the family of Shigeyama
Sengoro
ˆ
, which served the Hikone clan and the imperial family, and
its branch family, led by Shigeyama Chu
ˆ
saburo
ˆ
I (1848–1928). In
1941, the eldest son of Shigeyama Yagoro
ˆ
(later Zenchiku Yagoro
ˆ
;
1883–1965), Shigeyama Kichijiro
ˆ
revived the headship of the O
ˆ
kura
school, which had lapsed, and became O
ˆ
kura Yataro
ˆ
XXIV. Today’s
Tokyo branches include those of Yamamoto To
ˆ
jiro
ˆ
, the O
ˆ
kura family,
and the Zenchiku family, while those of Kamigata are the Shigeyama
Sengoro
ˆ
family, the Shigeyama Chuˆsaburo
ˆ
IV family, and the Zen-
chiku family.
O
ˆ
KURA YAEMON TORAAKIRA (1597–1662). Kyo
ˆ
gen actor,
playwright, and theorist, who became 12th head of the O
ˆ
kura ryu
ˆ
of kyo
ˆ
gen in1646. A conser vative unhappy with the liberal
approaches of the rival Sagi ryu
ˆ
, now nearly defunct (see SCHOOLS
OF NO
ˆ
AND KYO
ˆ
GEN), he was responsible for seeing that kyo
ˆ
gen’s
plays—then existing largely in an oral tradition—were written down.
This was in 1642 when he wrote his Toraakira Bon (Toraakira’s
Book; also Kyo
ˆ
gen no Bon [Kyo
ˆ
gen Book]), in which he made the
first attempt t o categorize kyo
ˆ
gen pl
ays, creating seven c ategor ies
that
are similar to those now used by the O
ˆ
kura ryu
ˆ
.(See PLAY
CATEGORIES: KYO
ˆ
GEN.) He also wrote the first and most
respected treatise on kyo
ˆ
gen acting, Waranbegusa.
OKURI. (1) A gidayu
ˆ
bushi melodic pattern heard in bunraku and
kabuki when the chanter and shamisen player combination changes
during a scene, but the scenery does not change. See also SANJU
ˆ
.
(2) Notation in a jo
ˆ
ruri script to denote a major character’s exit.
OKURI MAKU. A ‘‘gift curtain’’ presented to a star kabuki actor by a
patron (hiiki) or fan club (renju
ˆ
) on the occasion of some special
performance. Such traveler curtains (hikimaku) typically have dyed
on them the words, ‘‘To [such and such an actor] from [such and such
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292 • OMIGOROMO
a donor]’’ as well as the stylized image of a strip of folded, dried
abalone (noshi). See also MAKU.
OMIGOROMO. A kabuki costume, unknown off the stage, consisting
of a long, trailing, haori-like brocade over-robe with a high, standing
tuxedo collar, whose pattern and fabric contrast with that of the gar-
ment’s main part. Jidai mono lords, nobles, and generals wear it. At
the front is a thick, knotted, and tasseled golden cord, loosely holding
the robe together. The accompanying kimono is of white silk with a
padded, front-tied obi. Some characters also wear trailing hakama
(nagabakama) or baggy sashinuki. It is seen, for example, on Yoshit-
sune in Yoshitsune Senbon Zakura.
OMODAKA JU
ˆ
SHU. The ie no gei play collection of the Ichikawa
Ennosuke line of kabuki actors, named for the family yago
ˆ
.This
‘‘Omodaka 10 Play Group’’ includes Ukiyoburo, Buaku, Tsuri Gi-
tsune, Yu
ˆ
gaodana, Sannin Katawa, Ren Jishi, Higaki, Ninin Tomo-
mori, Sumidagawa, and Cho Hakkai.
OMOIIRE. The kabuki actor’s physical ‘‘expression’’ of his charac-
ter’s psychological attitude at a specific moment in a play. It often
comes into play shortly before the conclusion of a scene, as the cur-
tain is about to close. Scripts often use various omoiire expressions,
such as jutsunaki omoiire (‘‘free expression’’), thereby allowing the
actor to create his own way of expressing psychological nuances.
Edo-period scripts used a small circle to indicate the omoiire
moments.
OMOTE KATA. The ‘‘front of house staff’’ that helps run a bunraku
or kabuki theatre, including box office and advertising duties. (See
KO
ˆ
GYO
ˆ
.) Backstage and onstage personnel are ura kata. Edo-period
omote kata included the zamoto (or tayu
ˆ
), kinshu, cho
ˆ
moto, o
ˆ
fuda,
gatekeeper
(
kido
ˆ
ban), gallery keeper (sajiki ban), billboard (kan-
ban) artist, etc.
OMOZUKAI. The ‘‘chief puppeteer’’ of bunraku’s three-man puppet
system (sannin-zukai). He holds the puppet’s head by thrusting his
left hand through a slit in the back of the puppet’s costume around
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O
ˆ
MUSEKI • 293
where the obi knot is, where he grips a wooden headgrip (do
ˆ
gushi)
attached to the neck, fitted with a toggle (kozaru) and string (hikisen)
system for moving the head with the ring and little finger. The other
fingers control the eyes, eyebrows, and mouth when movable ones
are provided. His other hand is inserted through the right sleeve to
work the puppet’s right hand. Some male puppets weigh from 11 to
15 kilograms so the task of keeping them elevated and beautiful for
long passages when there is little action with only one hand holding
the do
ˆ
gushi is daunting. Therefore, most male puppets have a foot-
wide bamboo pole (tsukiage) connected to the right side of their
shoulder boards (kata-ita) that can be rested on the omozukai’s right
hip to give him additional support.
On his right hand is a white, thumbless glove. He wears high,
wooden ‘‘stage clogs’’ (butai geta or umanori), which—depending
on the height of the puppeteer—may be from around six inches to
over a foot in height and whose soles have straw matting attached to
soften their sound and prevent slipping; they allows him to keep the
puppet at the proper level while facilitating the work of the other two
puppeteers, the ashizukai and the hidarizukai. Traditionally, 10
years of training in each of the other positions is required before he
becomes an omozukai. See also DEZUKAI.
O
ˆ
MU. A type of kabuki acting in which comical characters (sanmaime
or do
ˆ
kegata) ‘‘parrot’’ a serious preceding scene. The best known is
between Yodarekuri and Sansuke, who parody the farewell of Chiyo
and Tonami in ‘‘Terakoya’’ (Sugawara Denju Tenarai Kagami).
O
ˆ
MUKO
ˆ
. The ‘‘great beyond’’ of rear gallery seats in Edo-period the-
atres, where oikomi fans were packed in. Today’s tachimi section at
the Kabuki-za reminds one of them. The spectators here were recog-
nized as the most discerning connoisseurs, who liked to shout
kakegoe comments for the actors.
O
ˆ
MUSEKI. The ‘‘parrot-stone’’ booklets in which excerpts from
kabuki plays were published for amateurs who enjoyed speaking
them in the manner of their favorite actors. Such booklets were pub-
lished as early as the mid-17th century. Each theatre published them
in conjunction with a new production.
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294 • O
ˆ
NADAI
O
ˆ
NADAI. The leading actors (‘‘big names’’) and the full titles of plays
given to
ˆ
shi kyo
ˆ
gen productions as written on the o
ˆ
nadai kanban.
O
ˆ
NADAI KANBAN. The kabuki billboard (kanban) on which the com-
plete, formal title (kyo
ˆ
gen nadai) of a play was written during the
Edo period. This long billboard was stood up in front of the theatre
instead of being hung overhead. In Kamigata, it was the geidai kan-
ban (‘‘art title billboard’’).
ONGAKU. See GEZA; NARI MONO.
ONI MONO. A subcategor y of the gobanme mono (‘‘fifth-group
plays’’) no
ˆ
category in which ‘‘devils’’ perform vigorous dances. The
following subcategories are named after no
ˆ
mask types. Numbers in
parentheses indicate other no
ˆ
groups in which these plays are some-
times categorized: (a) o
ˆ
beshi mono: six works about tengu goblins,
danced in what Zeami called the rikido
ˆ
style: Dai-e (1), Dairokuten
(1), Kazuraki Tengu, Kurama Tengu, Kuruma Zo
ˆ
(2, 4), Zegai; (b)
kobeshi mono: 11 pieces in which the shite’s performance conforms
to what Zeami called the saido
ˆ
style (because of alternate mask pos-
sibilities, kobeshi mono is not an accurate term, but the plays have
many structural features in common): Aisomegawa (4) (may wear the
tenjin mask), Cho
ˆ
boku
Soga (2,
4) (may wear the fudo
ˆ
mask), Danpu
ˆ
(2, 4), Ko
ˆ
tei (1, 4), Matsuyama Kagami, Nomori, Sho
ˆ
ki (1, 2, 4), Sho
ˆ
-
kun (1, 4), Taizan-pukun, Taniko (2, 4) (may wear the shikami mask),
Ukai (1, 4); (c) tobide mono:inKuzu (1, 4), the o
ˆ
tobide (‘‘large tob-
ide’’) mask is worn and the shite is a deity, giving the play qualities
associated with those in the first-group (hatsubanme); the remaining
five plays use the kotobide (‘‘small tobide’’), and the shite in most is
the spirit of some unusual creature: Genzai Shichimen (1, 4), Kappo
(1), Kokaji (1), Nue (2, 4), Sessho
ˆ
Seki (2, 4); (d) shikami (or shi-
gami) mono (named for a type of demon mask): the shite in these
eight plays have wicked intentions: Adachigahara (also Kurozuka;
the shite is female and wears a hannya mask), Hiun (2, 4), Momiji-
gari, O
ˆ
eyama (2), Raiden (1, 2, 4), Rasho
ˆ
mon (2,
4
), Shari (1),
Tsuchigumo (2); (e) kurohige mono (‘‘black beard plays’’): the shite
is a dragon god in these two pieces: Kasuga Ryu
ˆ
jin (1), Orochi (1);
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ONNA BUDO
ˆ
• 295
(f) shishi guchi mono: the shite in the first play is a tiger and in the
second a ‘‘lion’’ (shishi): Ryo
ˆ
ko (1), Shakkyo
ˆ
.
O
ˆ
NISHI NO SHIBAI. A major Osaka kabuki theatre (o
ˆ
shibai) that
began as the Matsumoto Nazaemon Shibai in 1652 and was renamed
the O
ˆ
nishi no Shibai (‘‘Great Western Theatre’’) because it was
located on the western end of the Do
ˆ
tonbori district. During the mid-
19th century, it was known for a time as the Chikugo Shibai. After it
burned down in 1876, it returned as the Ebisu-za, and was an impor-
tant focus of theatrical reform during the Meiji period, even housing
the first Japanese production of Shakespeare, in 1885. The name
Naniwa-za was assumed in 1887. Bombed in 1945, it was rebuilt
mainly for use as a movie theatre. SeealsoKADONOSHIBAI;
NAKA NO SHIBAI.
ONIWAKA. Male puppet head for certain powerful, brave young men.
His name derives from the character Oniwakamaru in Kiichi Ho
ˆ
gen
Sanryaku no Maki. He has a wide-eyed comical expression, as seen
on Hanaregoma C ho
ˆ
kichi in Futatsu Cho
ˆ
cho
ˆ
Kuruwa Nikki. His
color is white or reddish.
ONNA. A major category of no
ˆ
masks featuring ‘‘women.’’ The ko-
omote (‘‘small mask’’) is usually used by virginal young women,
including angels (as in Hagoromo and Yoshino no Tenjin) and certain
spirits, such as the butterfly in Kocho
ˆ
. But somewhat older women
may also use it if their hearts are pure, as with the heroine of Izutsu.
This character may also wear the wakaonna (‘‘young woman’’),
thought to be the most beautiful mature young woman’s mask. The
zo
ˆ
and magojiro
ˆ
are among the several variations. The fukai and sha-
kumi are for middle-aged women, such as the tragic mother in Sumi-
dagawa. Very few men’s masks have a hairline painted on but
women’s masks all have one. Women’s masks also reveal shaved
eyebrows with thick, lightly shaded, widely separated eyebrow pat-
terns painted on the upper forehead, which was the cosmetic style of
the middle ages. See also RO
ˆ
BA.
ONNA
BUDO
ˆ
. A
type of kabuki female samurai who reveals her mar-
tial skills. An example is Hangaku in Wada Gassen Onna Maizuru.
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296 • ONNAGATA
ONNAGATA. Also oyama, the ‘‘female person’’ actors who play girls
and women in kabuki. Women were banned from kabuki in 1629, so
young men, who occasionally had played women before, now took
over their roles exclusively. This ushered in the period of wakashu
kabuki, when female impersonation had over t homoerotic tenden-
cies. The attractive actors dressed and made up as alluringly as they
could, danced sensually, and performed acrobatics (a specialty of
early onnagata). They were more co ncer ned w ith s ex ap peal than
ar tistic achievement. During the mid-17th centur y yaro
ˆ
kabuki
period, the onnagata’s art began to improve radically as kabuki itself
became an increasingly sophisticated dramatic form. The word onna-
gata itself is first found in the diary of a lord who refers to a date in
1658 when he had a kabuki company perform a piece in which he
noted the presence of the ‘‘onnakata [sic], kaka, Zenzaemon.’’ Kaka
(‘‘old woman’’) suggests that female impersonators were now acting
roles whose character implications went beyond sensuality. Acting
was now becoming as important if not more so than dance, and actors
were seeking ways to increase the believability of their female roles.
A number of actors made major advances in costuming, wigs, and
stage business, and matured into serious ar tists who helped make
female characters dramatically interesting.
The late 17th and early 18th centuries saw major advances in
onnagata acting thanks to the performers Mizuki Tatsunosuke I, Kiri-
nami Senju, and, Yoshizawa Ayame, whose Ayamegusa (see
YAKUSHA BANASHI) believes that onnagata should live their every-
day lives as women. Great advances were made in the 18th century
with the advent of nagauta music and the artistry of Segawa Kiku-
nojo
ˆ
I, Nakamura Tomiju
ˆ
ro
ˆ
I,andIwai Hanshiro
ˆ
IV through
Hanshiro
ˆ
VIII.
Early onnagata were categorized as either wakaonnagata or
kashagata. Wakaonnagata (‘‘young women’’) were adolescent girls,
princesses, young courtesans, etc., among them Agemaki in Sukero-
ku Yukari no Edo Zakura, Princess Yaegaki in Honcho
ˆ
Niju
ˆ
shiko
ˆ
,
and
Ofune
in Shinrei Yaguchi no Watashi. Kashagata came to mean any
middle-aged or o ld woman. The type is also called kakagata and,
most often today, fuke oyama. Examples are Okaya in Act 6 of Kana-
dehon Chu
ˆ
shingura, Oen in Koi Bikyaku Yamato O
ˆ
rai, and Masaoka
in Meiboku Sendai Hagi. The onna budo
ˆ
belongs to this group as
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ONOE BAIKO
ˆ
• 297
well. Another subdivision is sewa nyo
ˆ
bo
ˆ
(‘‘townsmen’s wives’’),
such as Otoku in Keisei Hangonko. In addition, there are the profane
women called akuba (see also DOKUFU MONO) and the samurai
villainesses like Iwafuji in Kagamiyama Kokyo
ˆ
no Nishiki-e. See also
YAKUGARA.
The leading onnagata inatroupeisthetate onnagata or tate
oyama. Lower ranks each have their own terminology. (See CHU
ˆ
NIKAI; HAIYU
ˆ
NO KAIKYU
ˆ
; KYO
ˆ
GEN NADAI.) The onnagata rep-
resents an idealization of femininity and even influenced women’s
behavior and styles during the Edo period.
ONNA KABUKI. ‘‘Women’s Kabuki,’’ which arose soon after Izumo
no Okuni founded okuni kabuki in 1603. It gave rise to several forms
of kabuki that would appear during the century, from yu
ˆ
jo kabuki to
wakashu kabuki to yaro
ˆ
kabuki. The women in Okuni’s troupe wore
their hair like boys, dressed in masculine clothes, and carried swords.
ONNA MONO. Those plays belonging to the sanbanme mono cate-
gory of no
ˆ
commonly referred to as ‘‘woman plays.’’ The term also
refers in general to plays featuring women shite,ofwhich,inthe
yobanme mono category, there are two special genzai mono and
three yu
ˆ
rei mono.Thereisalsooneonna mono (Tomoe)inthe
nibanme mono category.
ONNA YAKUSHA. Since ‘‘women actors’’ were excluded from public
kabuki productions, female performers belonged to all-female troupes
(including
musicians
and stagehands) that displayed their ar ts—
especially dancing—for the secluded women at the shogun’s court or
at feudal mansions. The formal title of such performers was okyo
ˆ
gen-
shi (‘‘honorable theatre artists’’). The most noteworthy actress who
emerged was Iwai Kumehachi (1846–1913), a student of Ichikawa
Danju
ˆ
ro
ˆ
IX who changed her name to Ichikawa Kumehachi.
The loss of samurai-class support in the Meiji period saw them
turn professional, an onna shibai (‘‘women’s theatre’’) being founded
in 1868 at Tokyo’s Satsuma-za.
ONOE BAIKO
ˆ
. Seven generations of kabuki actors. Yago
ˆ
Otowaya.
Baiko
ˆ
VI (1870–1934), adopted son of Onoe Kikugoro
ˆ
V, took the
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298 • ONOE KIKUGORO
ˆ
name in 1903. The name had previously been the haimyo
ˆ
of the
Kikugoro
ˆ
line and had been used as a stage name only briefly for
Kikugoro
ˆ
IV and Kawarazaki Kunitaro
ˆ
II. Baiko
ˆ
VI was a spe-
cialist in sewa mono and kaidan mono who became popular playing
against his adoptive father, and later gained fame par tnering the
future Ichimura Uzaemon XV.HeledthenewTeikoku Gekijo
ˆ
company when it opened in 1911.
Baiko
ˆ
VII (1915–95), adopted son of Kikugoro
ˆ
VI, took the name
Baiko
ˆ
in 1947. Not long after, he became a cofounder of the Kiku-
goro
ˆ
VI troupe. He and Nakamura Utaemon VI were the two great-
est postwar onnagata, and he was named a Living National Treasure
and a member of the Nihon Geijutsuin (Japan Arts Academy). A bit
stout, he was nonetheless a great dancer.
ONOE KIKUGORO
ˆ
. Seven generations of kabuki actors. Yago
ˆ
Oto-
waya. Kikugoro
ˆ
I (1717–83), active mainly in Edo, took the name in
1730. Originally an onnagata, he switched to tachiyaku in 1752. He
was famous for his acting in Kanadehon Chu
ˆ
shingura, subsequently
closely linked with the line.
Kikugoro
ˆ
III (1784–1849), a kaneru yakusha, took the name in
1815, reviving it afte r a th ree- deca de hi atus . His feud s wit h oth er
actors were notorious. He is remembered for starring in Tsuruya
Nanboku IV’s plays, especially To
ˆ
kaido
ˆ
Yotsuya Kaidan. He estab-
lished the family t radition of playing vengeful ghosts and was an
expert at keren acting.
Kikugoro
ˆ
IV (1808–60), the only pure onnagata in the line, took
the name in 1845.
Kikugoro
ˆ
V (1844–1903), son of Ichimura Uzaemon XII,was
one
of
the top three stars of the Meiji period (see DAN-KIKU-SA).
This kaneru yakusha took the name in 1868. More conservative than
his rival, Ichikawa Danju
ˆ
ro
ˆ
IX, he favored the traditional repertoire,
specializing in kizewa mono and kaidan mono. He also starred in the
new zangiri mono genre. He was one of those who performed for the
imperial family (tenran geki) in 1887. He compiled the Onoe ie no
gei collection, shinko engeki jusshu.
Kikugoro
ˆ
VI (1885–1949), son of Kikugoro
ˆ
V, a l s o a kaneru
yakusha, was a towering figure who had a memorable artistic rivalry
with Nakamura Kichiemon I, the latter being a jidai mono special-
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ONOE TATSUNOSUKE • 299
ist, and the former a sewa mono master. Known as Rokudaime (‘‘the
sixth’’), he was named Kikugoro
ˆ
VI in the year of his predecessor’s
death. He gained fame in traditional as well as shin kabuki plays,
created a ‘‘golden age’’ with Kichiemon I at the Ichimura-za, and
established the Nihon Haiyu
ˆ
Gakko
ˆ
(Japan Actors’ School) in 1930
to educate the children of kabuki actors, and performed during World
War II in Manchuria.
Kikugoro
ˆ
VII (1942–), son of Onoe Baiko
ˆ
VII, began his career
as a popular onnagata, gained fame on TV actor in the 1960s,
switched to tachiyaku roles, and became Kikugoro
ˆ
VII in 1973. He
reigns as one of the great stars of today.
ONOE MATSUSUKE. Six generations of kabuki actors. Yago
ˆ
Oto-
waya. Matsusuke I (1744–1815), an onnagata who switched to
tachiyaku, made his mark in the kaidan mono of Tsuruya Nanboku
IV, creating various keren effects. In 1809, he became Onoe Sho
ˆ
r-
oku I.
ONOE SHO
ˆ
ROKU. Three generations of kabuki actors. Yago
ˆ
Oto-
waya. Sho
ˆ
roku I was Onoe Matsusuke I.
Sho
ˆ
roku II (1913–89), brother of the great postwar stars Ichikawa
Danju
ˆ
ro
ˆ
XI and Matsumoto Ko
ˆ
shiro
ˆ
VIII, took the name in 1935.
A stocky actor, he was a powerful tachiyaku who did not perform
female roles, excelled as a dancer and choreographer (see FUJIMA
RYU
ˆ
), his dance names being
Fujima
Kanemon IV and then Fujima
Kansai. He was a Living National Treasure and a m ember of t he
Nihon Geijutsuin (Japan Arts Academy). Outside of kabuki,he
appeared in films and Western drama, including Shakespeare.
Sho
ˆ
roku III (1980–), grandson of Sho
ˆ
roku II, is an actor in his
grandfather’s tradition, and took his name in 2004.
ONOE TATSUNOSUKE. Three generations of kabuki actors. Yago
ˆ
Otowaya. There were two actors named Tatsunosuke I, but only the
second is of importance. Tatsunosuke I (1956–1987) was the son of
the great Onoe Sho
ˆ
roku II. He debuted in 1952 and became Tatsu-
nosuke in 1965. As a rising young star, he gained wide popularity as
one of the three ‘‘Sukes,’’ the others being Onoe Kikunosuke IV
(later Onoe Kikugoro
ˆ
VII) and Ichikawa Shinnosuke VI (later Ichi-
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300 • ONRYO
ˆ
kawa Danju
ˆ
ro
ˆ
XII). Like his father, he was outstanding in many
male roles (tachiyaku) and was a superb dancer. He toured abroad
on several occasions. Smitten with hepatitis in 1986, he succumbed
not long after, his death at forty being considered a tragic loss to
kabuki. His son, Tatsunosuke II (1975 – ), became Sho
ˆ
roku III in
2004.
ONRYO
ˆ
. The no
ˆ
masks of ‘‘angry ghosts.’’ There are a number of
types. The yase otoko (‘‘thin man’’) and kawazu (‘‘toad’’) are associ-
ated with young men who suffer in the afterworld because of unre-
quited love (Fukakusa no Sho
ˆ
sho
ˆ
in Kayoi Komachi) or for having
taken life (the title character in Akogi). Yase onna (‘‘thin woman’’)
are worn by the ghosts of women who suffer because of painful love
experiences, as in Kinuta and Motomezuka. The deigan, the whites
of whose eyes are gilded with a mixture of mud and gold (deigan),
was originally used for bodhisattvas and women who had achieved
salvation, but came to be worn by vengeful women, like Lady Rokujo
ˆ
in Aoi no Ue and the shite in Kanawa.Thehannya (‘‘female
demon’’) is the most ferocious of jealous women’s masks, showing
the character having been transformed into an angr y demon with
fangs, a gaping mouth, sunken eyes, and horns. Variations are the
hashi-hime (‘‘bridge princess’’), namanari (‘‘immaturity’’), and
shinja (‘‘true demon’’). Such masks are worn in Do
ˆ
jo
ˆ
-ji, Momijigari,
and Adachigahara. The mikazuki (‘‘crescent moon’’) and ayakashi
(‘‘mysterious phantom’’) is worn by the vengeful warrior spirits in
plays like Funa Benkei and by the ghosts of men who died young,
possibly because of a broken heart, as in Nishiki-gi. The awa otoko
represents a powerful god or vengeful spirit, resembling the mikazuki
with its metallic eyes and bold mustache but with a gentler appear-
ance. Wearers include Tomomori in Funa Benkei, where its name of
‘‘foam man’’ is apt for the ghost of one who drowned.
O
ˆ
RANMA. The ‘‘black transom’’ beam running over the kabuki
stage
between
the daijin bashira, or the transom work placed in front of
this beam. The beam can be raised or lowered as needed.
OREGO
ˆ
RE. A metal percussion instrument consisting of four small
cuplike pieces, one smaller than the other, attached at their bases to
a board, and struck with two thin sticks. See also NARI MONO.
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