Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

Подождите немного. Документ загружается.

SANGAI • 331

sional touches of dramatic development and realistic poses. These are

the most poetic no

plays and those richest in yu

gen.

The ‘‘orthodox sanbanme plays’’ are hon sanbanme mono,but

when plays from another group are performed in place of them they

are ryaku sanbanme mono (‘‘alternative third-group plays’’). In most

cases, the broad sanbanme subdivisions daisho

chu

no mai mono,

daisho

jo no mai mono, mainashi mono, taiko chu

no mai mono,

and taiko jo no mai mono take their names from the dance featured

in them. In these names, chu

no mai and jo no mai (‘‘medium

dance’’ and ‘‘ quiet dance’’) are the names of d ance types,daisho

(‘‘large and small’’) refers to accompaniment using the kotsuzumi

and o

tsuzumi drums but without the taiko, and taiko refers to the

stick drum being used in addition to the fue and hand drums.

SANBASO

MONO. A group of ‘‘Sanbaso

pieces,’’ dances that may go

back to kabuki’s earliest days and that represent an adaptation of the

auspicious no

play Okina to be presented at annual Edo-period

events, such as the kaomise and hatsuharu programs, the openings

of new theatres, and, as a daily puriﬁcation rite, at dawn, even when

few if any specta tors were presen t. Va riatio ns ap pear ed, s ome f or

tachiyaku, others for onnagata. Each major theatre (o

shibai) had its

own version for the daily performance, a practice that disappeared in

the late 19th century.

The four best-known Sanbaso

mono are Ayatsuri Sanbaso

, Koto-

buki

Sanbaso

, Shiki

Sanbaso

, and Shitadashi Sanbaso

SANDAN. A ‘‘three-step’’ platform, about three feet wide, used in

kabuki scenery with the takaashi no niju

platform arrangement seen

in jidai mono and shosagoto. When used in the latter it has red car-

peting and is placed at center stage in the closing minutes to allow a

tachiyaku to cut a mie on it. The nidan is a version for onnagata.

SANGAI. The ‘‘third ﬂoor’’ backstage (gakuya) in Edo-period kabuki

theatres, reserved for the tachiyaku. It included the zagashira’s

dressing room at its inmost location, while outside the zagashira’s

room was the large, communal space, with a hearth, called the o

beya;

it was used by the actors at the bottom of the hierarchy (see HAIYU

NO KAIKYU

), one of whose nicknames was sangai.

PAGE 331

.................15687$ $CH1 12-20-05 11:07:28 PS

332 • SANGAKU

SANGAKU. ‘‘Miscellaneous music,’’ an early form of Japanese per-

formance that originated on the Asian continent and that arrived in

Japan via China during the Nara period. It eventually included a wide

assortment of entertainments, including sword handling, mime, sing-

ing, dancing, acrobatics, fortune telling, dengaku, and jugglery. All

classes enjoyed these entertainments, which were seen at court and

at sports competitions. The performers gained the patronage of tem-

ples and shrines and performed at festivals. Sangaku was the immedi-

ate predecessor of sarugaku, which evolved into no

and kyo

gen.

SAN HIME. The ‘‘three princess’’ roles considered bunraku and kabu-

ki’s most important. Each princess (hime) is famous for her beauty

and ﬁdelity to her lover. Two of them are so passionately devoted

that they bring about miracles. They are Princess Yaegaki in Honcho

Niju

shiko

, Princess Yuki in ‘‘Kinkaku-ji’’ (Gion Sairei Shinko

ki), and

Princess Toki in Kamakura Sandaiki. See also AKAHIME.

SANJU

. A gidayu

bushi melodic pattern heard in bunraku and kabuki

when the chanter and shamisen player (chobo) combination

changes during a scene, and the scenery changes as well. The music

links the end of the former scene with that of the new scene. In both

okuri and sanju

, the melody of the last line sung to close the previous

scene by one chanter is repeated by the new chanter, who sings the

ﬁnal part of the line to begin the new scene.

SANMAIME. A humorous, suppor ting kabuki role-type (yakugara)

whose name, suggesting the third of a group of ﬂat items, arose

because such characters were given on the third kanban displayed in

front of old-time theatres. Comic villains are sanmaime gataki (see

KATAKIYAKU). Sanmaime and those who play them are also called

kegata. Examples include To

hachi in ‘‘Genyadana’’ Yowa Nasake

Ukina no Yokogushi and

Sagisaka

Bannai in Kanadehon Chu

shin-

gura. See also SARUWAKA.

SANMAIME SAKUSHA. The third-ranking resident bunraku and

kabuki house playwright at Edo-period theatres. He shared duties

similar to those of the second-ranking writer, the nimaime sakusha,

and wrote under the direction of the tate sakusha.

PAGE 332

.................15687$ $CH1 12-20-05 11:07:28 PS

SANRIATE • 333

SANNIN-ZUKAI. The ‘‘three-man puppeteer’’ sy st em used in bun-

raku, unique in world puppetry. It consists of a chief puppeteer (omo-

zukai) who operates the head and right arm, a left arm puppeteer

(hidarizukai), and a leg puppeteer (ashizukai). Yoshida Bunzaburo

devised the method and Yoshida Saburobei inaugurated it in 1734

during a performance of a scene in ‘‘Ninin Yakko’’ (Ashiya Do

man

uchi Kagami) when the porters Yokanbei and Yakanbei, who look

just like one another, have to carry on their shoulders a palanquin

bearing Princess Kuzunoha and Abe Do

shi. (See also DEZUKAI.)

Previously, puppets used as bearers would hold the palanquin pole

with the left hand but the difﬁculty of carrying the puppet and hold-

ing the pole ﬁnally made it necessary for an additional person to con-

trol the left hand for gripping the pole. This led to the idea of having

three men manipulate each puppet. At ﬁrst, though, not all puppets

were so operated, only those with special needs. It was not until the

late 18th century, afte r years of prac tice an d inn ovatio n, that per-

formances came to resemble the kind of three-man technique now

used.

Before the sannin-zukai approach, a one-man system (hitori-zukai)

was used; each puppeteer handled a single puppet, held over his head

by thrusting both hands inside the puppet from underneath the

kimono. This was tsukkomi or sashikomi (‘‘thrusting’’).

SAN NO KIRI. The ‘‘third-act conclusion’’ of a bunraku play (see

DRAMATIC STRUCTURE: BUNRAKU AND KABUKI). In the

standard ﬁve-act structure, the third act is the climactic one, and

invariably ends with a suicide or killing. The kiri is the most difﬁcult

part and is reserved for only the leading chanters. Major examples

include the scene of Sakuramaru’s suicide in Sugawara Denju Tena-

rai Kagami and the suicide of Kanpei in Kanadehon Chu

shingura.

SAN NYO

. Kabuki’s ‘‘three wives,’’ the representative roles for

married women (nyo

): Otoku in Keisei Hangonko

, Otane in Hon-

cho

Niju

shiko

, and Sekijo in Nanban Tetsu Goto

no Menuki. The only

similarity among these women is their marital status.

SANRIA

TE. A

small, triangular or semicircular, red or yellow knee-

pad-like kabuki costume element tied around the knee to hide cau-

PAGE 333

.................15687$ $CH1 12-20-05 11:07:29 PS

334 • SANSAGARI

ter y scars at the sanri, a point below the kneecap where moxa is

burned to cure various ailments. Examples include Tsumahei in Shin

Usuyuki Monogatari an d Gen ba in ‘‘Tera koya ’’ (Sugawara Denju

Tenarai Kagami).

SANSAGARI. One of the three basic shamisen tunings (see HON-

CHO

SHI; NIAGARI), consisting of two fourths.

SANTAI. The ‘‘three roles’’ of old man (ro

tai), warrior (guntai), and

woman (jotai) that Zeami believed to be the foundation of all no

act-

ing. See also MONOMANE; SARUGAKU DANGI; SHIKADO

SARUGAKU. Sarugaku (‘‘monkey music’’), more formally known as

sarugaku no no

, is the early name of no

. In the Kadensho, Zeami

describes the etymology of the word by noting that the right-side ele-

ment in the Chinese character for god (kami)—the ﬁrst character in

the word kagura (‘‘shrine music’’)—is itself a character meaning ‘‘to

speak,’’ and that it is pronounced saru, which represents the hour of

the monkey (4 to 6 p.m.); in the seventh century Prince Sho

toku, who

had asked Hata no Ko

katsu to create 66 entertainments as a way of

bringing peace to the land, took the word for this horary sign, added

gaku (music) to it, and created sarugaku, which Zeami says also

means ‘‘to speak of pleasure.’’ Later commentators believe Zeami

described the word’s origins thusly as a way of giving it more

respectability than it had when considered as something that some-

how resembled the behavior of monkeys. Scholars believe the term

actually evolved from sangaku, the ‘‘miscellaneous arts,’’ to which

the 66 entertainments corresponded. See also NO

GAKU.

SARUGAKU DANGI. ‘‘Talks on Sarugaku,’’ counted as one of

Zeami’s secret treatises ( hiden) although actually a collection of

notes by Zeami’s son Motoyoshi b ased on his f athe r’ s com ment s,

possibly over many years, and organized according to speciﬁc topics;

a portion includes Motoyoshi’s own ideas, which often makes it dif-

ﬁcult to determine whose words are represented. Most of it is

believed to have been written in (or by) 1430 but a small amount is

supplementary and was added later by unknown hands. The docu-

ment consists of 31 major sections, an introduction, and supplements.

PAGE 334

.................15687$ $CH1 12-20-05 11:07:29 PS

SARUWAKA • 335

Altogether there are 225 subsections. The document is essentially a

collection of straightforward comments on a variety of historical and

practical issues and is not theoretically oriented. It is extremely

important for the knowledge it provides regarding 14th- and 15th-

century no

, many of whose plays and artists it mentions. The work

was rediscovered in a secondhand bookseller’s in 1905.

The introduction—which begins by stressing sarugaku’s depen-

dence on monomane, in conjunction with mastery of the dual arts,

nikyoku, and the three fundamental roles, santai—covers such things

as dengaku performance and memories of its ﬁnest actors,espe-

cially Kiami, Zo

ami, and Inuo

; the acting of O

mi sarugaku; recollec-

tions of Kan’ami and his inﬂuence on Zeami; and comments on

Zeami’s acting. A general list of the principal topics discussed (often

with anecdotal recollections and reference to particular plays) in the

31 sections of the main text would include the following (some are

covered in multiple sections): the conventions of dance and gesture;

performance instructions, including how to adjust in response to

audience behavior; levels of achievement; actors’ cries or interjec-

tions; technical commentary on vocal music of various types; play-

writing; stage construction for a kanjin no

(which differed in certain

marked ways from today’s no

stage); notes on performing Okina;

costumes and properties; kyo

gen actors; other actors; masks and

mask makers; troupes; Zeami’s responses to people’s revelatory

dreams; dengaku’s origins; takigi no

; how actors should c onduct

themselves; training; actors’ religious duties; and a code of rules.

SARU GUMA. An exaggerated kabuki makeup invented by Naka-

mura Denkuro

I in 1690 and considered the oldest extant kumadori.

He created this ‘‘monkey makeup’’ for the role of Asahina in a play

about the Soga brothers (see SOGA MONO), so it is also called asahi-

na no guma. It has three lines drawn horizontally across the forehead;

from the outer tips of the eyebrows a line descends past the eyes to

the cheeks and then sweeps outward toward the ears.

SARUWAKA. Comical actors and their skits during kabuki’s earliest

days; also old-time street and folk performers. A major performer

was Saruwaka Kanzaburo

(see NAKAMURA

KANZABURO

builder

of Edo’s ﬁrst permanent theatre, the Saruwaka-za (predeces-

PAGE 335

.................15687$ $CH1 12-20-05 11:07:29 PS

336 • SARUWAKA-CHO

sor of the Nakamura-za), in 1624. The saruwaka sometimes served

as an intermediary in arranging teahouse assignations for lovers in

the days of onna kabuki. Later, the traditional ‘‘congratulatory pro-

duction’’ (kotobuki ko

gyo

) at the Nakamura-za was a kyo

gen-like

dance called Saruwaka. Its manuscript, dating from the early 17th

centur y, is the oldest such document in kabuki.Othersaruwaka

dances also were created. The saruwaka was eventually absorbed by

the do

kegata.

SARUWAKA-CHO

. Also Saruwaka-machi, the new theatre district to

which the bunraku and kabuki theatres of Edo were forced to move

in 1842, and where they remained until 1872. The Tenpo

reforms of

1841 decreed that theatres had to relocate from their traditional

locales in the heart of the city to the Seiten-cho

area in Asakusa, on

Edo’s outskirts, not far from the Yoshiwara brothel district. The new

district was christened Saruwaka-cho

in memory of kabuki pioneer

Saruwaka Kanzaburo

(see NAKAMURA KANZABURO

). The ﬁrst

to move, in 1842, were the Nakamura-za (and the Satsuma-za pup-

pet theatre), and the Ichimura-za (and the Yuki-za puppet theatre).

In 1843, the Kawarasaki-za (then serving as hikae yagura for the

Morita-za), transferred. Restrictions were placed on the freedom of

movement of all theatre personnel. In 1872, the Morita-za moved

back to the city’s center, in Shintomi-cho

, Tsukiji. The Nakamura-za

(under the name Saruwaka-za) moved to Torigoe-cho

in 1884, and,

in 1894, the Ichimura-za moved to Shitaya.

SASHI. A no

recitative-like verse sho

dan accompanied by percussion,

which usually precedes an uta section, as well as the kuse; it can also

be in dialogue form. It is usually heard in the ﬁrst ha dan (see JO-

HA-KYU

but

may be performed elsewhere as well.

SASHIDASHI. An old-fashioned kabuki lighting method whereby in

pre-electricity days stars entering on the hanamichi were illuminated

by a candle attached to the end of a long, red handle held before and

behind them by kurogo or ko

ken, creating a spotlight effect. Nowa-

days, the method is used only in plays attempting to recapture the

feeling of old-time kabuki, examples being Izaemon’s entrance in

PAGE 336

.................15687$ $CH1 12-20-05 11:07:29 PS

SATSUMA JO

UN (1595–1672) • 337

Kuruwa Bunsho

, or the ghostly entrance through the suppon trap of

Takiyasha in Masakado. See also SASHIGANE.

SASHIGANE. A bunraku and kabuki property co nsis ti ng of blac k,

ﬂexible poles to the ends of which are afﬁxed ﬂying creatures like

birds or butterﬂies, or phosphorescent souls or foxﬁres, so that they

can be manipulated by ko

ken or kurogo. Butterﬂies appear thusly in

Kagami Jishi and a hawk is used in Seki no To.InKenuki, a pair of

huge tweezers dance around as if being controlled by a magnet.

Another sashigane is the narrow armature ﬁtted into the left arm

of a bunraku puppet so that the hidarizukai can manipulate its strings

to make the arm and hand move properly.

SASHINUKI. A type of hakama gathered at the ankles like pantaloons

and worn in kabuki and no

beneath a kariginu or no

shi. Okina in

Sanbaso

(see SANBASO

MONO) wears it. See also COSTUMES:

KABUKI; COSTUMES: NO

SATSUKI KYO

GEN. Satsuki is an old word for the ﬁfth month on the

premodern calendar, so satsuki kyo

gen were Edo-period ‘‘ﬁfth-month

plays.’’ They were performed for 20 days, beginning on the festival

day celebrated on the ﬁfth day of the ﬁfth month, most of them being

follow-ups to the Soga brother stories (see SOGA MONO) enacted

in hatsuharu kyo

gen. They could also be sequels to revenge plays

(adauchi kyo

gen) in which other characters ﬁgured. Eventually, kai-

dan mono and plays featuring keren effects became popular satsuki

kyo

gen. See

also

GYO

SATSUMA JO

UN (1595–1672). The founder of Edo jo

ruri. Origi-

nally called Toraya Jiro

bei, he studied with the blind musician Sawa-

zumi Kengyo

, founded his own school of chanting, shortened the 12-

par t dramatic structure of earlier jo

ruri to six parts, and moved

from Kamigata to Edo where he established a puppet theatre at

Nakabashi. His vigorous style caught on in the brash new city, and

his performances were accompanied by innovations in puppetry and

stagecraft, making him the foremost jo

ruri artist of his time. His style

even spread to the more reﬁned city of Kyoto. Favored by a powerful

feudal lord, he took the title Satsumadayu

, then the name Jo

un. He

PAGE 337

.................15687$ $CH1 12-20-05 11:07:30 PS

338 • SAWAMURA SO

had various important disciples—especially Sakurai Tanba no jo

(see

KINPIRA JO

RURI)—and his inﬂuence was great.

SAWAMURA SO

. Nine generations of kabuki actors. Yago

Kinokuniya. So

I (1685–1756), moved from Osaka to Edo in

1718, taking the name that year, but changing to Sawamura Cho

in 1747. That year his acting in a play based on the story of the 47

nin (see CHU

SHINGURA MONO) created the basis for the char-

acter of O

boshi Yuranosuke in Kanadehon Chu

shingura a year later.

In 1753, he became Suketakaya Takasuke I. He was a versatile actor,

wrote 10 plays, and had other artistic skills.

III (1753–1801), who took the name in 1771, is said to

have been the best Yuranosuke ever.

V (1802–53) took the name in 1844, later becoming Cho

juˆro

V and Suketakaya Takasuke III. A romantic actor and a top

dancer, he was also highly skilled at nontheatrical arts.

VI (1838–86), son of So

V, never formally became

VI. He was a versatile actor considered on a par with Ichi-

kawa Danju

IX and Onoe

Kikugoro

VII

(1875–1949) took the name in 1908. He was a member

of the ﬁrst company at the Teikoku Gekijo

, excelling as an onna-

gata and at wagoto acting and dance. His best roles are in the ko

shu collection.

juˆro

VIII (1908–75), son of So

juˆro

VII, and adopt ed son of

Ichikawa Sadanji II before a dispute led him to return to the Sawa-

mura line. A leading onnagata, he became So

juˆro

VIII in 1953.

IX (1933–2001), son of So

VIII, was a popular postwar

actor but he abandoned kabuki in 1960 for the movies. He returned

in 1963, being active in the young company playing at To

yoko Hall.

VIII, who took the name in 1976, was outstanding at onna-

gata and nimaime.

SAWAMURA TANOSUKE. Six generations of kabuki actors. Yago

Kinokuniya. Tanosuke I was Sawamura So

III.

Tanosuke III (1845–78), son of So

juˆro

took the name in 1859.

He was 15 when he became the leading onnagata at the Morita-za,

and he inspired a number of female fashions. From 1867 to 1870, he

underwent a series of operations by the foreign physician Hepburn

PAGE 338

.................15687$ $CH1 12-20-05 11:07:30 PS

SCENERY • 339

who amputated his gangrenous left foot, right foot, and right hand.

Still, he remained on stage until 1872, but, having lost his mind, died

at 33.

Tanosuke VI (1932 –), son of Tanosuke V, debuted in 1941 as

Sawamura Yoshijiro

IV. In 1964, he became Tanosuke VI. Although

not physically attractive, he became a successful onnagata. In 2002,

he was designated a Living National Treasure.

SAWARI. A highly emotional gidayu

bushi passage in a bunraku or

kabuki play or jo

ruri recital. The chanter or actor expresses the lines

with profound emotion and tonal beauty. Originally it pointed to the

emotion-laden sequences called kudoki or to other emotionally rich

sections. Other musical forms than gidayu

bushi also use sawari to

refer to passionate passages.

SCENERY. No

and kyo

gen use no scenery per se, although they often

employ scenic pieces called tsukuri mono (see PROPERTIES: NO

Bunraku and kabuki, however, make abundant use of settings, some

of them quite spectacular. The term o

gu comprises not only the

painted scener y and platforming, but also such permanent scenic

devices as the mawari butai, seri, maku, etc. Most of what follows

is about kabuki.

Early kabuki production was very similar to no

so scenery was not

essential. With the arrival in1664 of multiact plays (tsuzuki kyo

gen),

it became increasingly common to indicate the different l ocales

through scenic means. The appearance of the hikimaku at just this

time helped to separate major scenes. Around the same time, Hase-

gawa Kanbei I (?–1659) of Edo began to specialize in kabuki sce-

nery; he founded a line of scenery specialists that continued for 12

generations into the late 19th century. Such artisans introduced and

perfected a host of special scenic techniques, such as gando

gaeshi,

hikiwari, hikido

gu, ao

gaeshi, wa ri do

gu, de ngak ug ae shi, b utsu-

dan-gaeshi, hashi bako, and shamoji.

The realism of scenic backgrounds began to increase rapidly in the

1840s, when locales were painted on ﬂats in the kakiwari technique

(see HARI MONO). Major advances in scenic sophistication occurred

during the Meiji era when Western inﬂuence was introduced in the

architecture and lighting (both gas and electricity) of theatres such as

PAGE 339

.................15687$ $CH1 12-20-05 11:07:30 PS

340 • SCHOOLS OF NO

AND KYO

GEN

the Shintomi-za (see MORITA-ZA) and the Kabuki-za. Sets became

larger and more colorful, as well as more realistic and technically

advanced. Many devices, such as the mawari butai, were now moved

by electrical motors.

Most kabuki sets are composed of hari mono and niju

of different

sizes. Platforming, however, does not play a signiﬁcant role in bun-

raku because of the physical needs of the bunraku stage. All bunraku

and kabuki scenic components are more or less modularized and

rearranged as needed for different plays. (See JO

SHIKI.) Standard-

ized sets show seas, rivers, restaurants, battle camps, brothels, pal-

aces, mansions, townsmen’s and farmers’ homes, palaces, shops,

riverside embankments, forests, temples, shrines, mountainous areas,

valleys, and so on. Some show only interiors or exteriors, while oth-

ers combine both. A typical house setting consists of an exterior area

(including the hanamichi) at stage right, a gated entranceway at right

center, and the house itself occupying center to stage left. The sho

yatai, a small room, frequently is attached at stage left.

SCHOOLS OF NO

AND KYO

GEN. No

artists have belonged to spe-

ciﬁc schools (ryu

ha or ryu

) or styles of performance since their ori-

gins as Yamato sarugaku za in the Kamakura period; there are

references to ryu

as artistic lines as early as Zeami’s writings. The

difference between a za and a ryu

is that the former was an indepen-

dent company of professional actors,ledbyatayu

, performing

music, dance, and chants of its own creation. A ryu

(or ryu

gi), on the

other hand, is a school of specialized artists, such as shite, waki, kyo

gen, and musicians of each of the four standard instruments (see

KIT

A RYU

;

MUSIC: KYO

GEN; MUSIC: NO

). Thus, a ryu

would not

create its own works. Nor would an artist of one type of ryu

also

study and perform (except as an amateur) the art of another ryu

.In

early no

, performer s were all-aroun d art ists , but that pr acti ce was

abandoned long ago in favor of specialization. The establishment of

ryu

became especially apparent during the Edo period when no

became the ofﬁcial art—later deemed the ‘‘ceremonial art’’(shik i-

gaku)—of the samurai class with four schools of shite to which a

ﬁfth, the Kita, was added, in the ﬁrst half of the 17th century.

There are a number of differences among the schools, ranging for

actors from details of performance to textual variations to overall

PAGE 340

.................15687$ $CH1 12-20-05 11:07:30 PS