Leiter S.L. Historical Dictionary of Japanese Traditional Theatre
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YUKI • 441
sen player had performed at center behind a curtain; they moved to
where the audience could see them in front of the tesuri border—but
not on a platform—in 1705 for Chikamatsu Monzaemon’s Yo
ˆ
mei
Tenno
ˆ
Shokunin Kagami.
Behind the performers is a black-edged , sin gle- leaf scre en, o ne
side of which is painted gold, the other silver, and set on a six and a
half foot in diameter revolve (bunraku mawashi). When the curtain
opens, the yuka revolves into place, bringing on the chanter and
shamisen player in their formal dress of kamishimo, their heads
humbly bowed. Before the chanter is his kendai stand. Tall candle-
sticks stand at either side of the performers. The revolve sometimes
is used in the midst of a scene to bring in a new chanter and shamisen
player to perform the highlight portion. Just above the platform is a
small room (also called yuka) screened by a bamboo blind (misu),
used by junior performers for brief scenes, or for those kabuki plays
that do not require the visible presence of the chobo. Hanging at the
room’s front is a notice with the name of the company’s monshita.
In dance plays, it is common for as many as 20 chanters and sham-
isen players to appear on the yuka, which is specially enlarged for
the occasion. See also KAKEAI.
YUKA HON. The bunraku chanter’s ‘‘platform book,’’ meaning the
script for a single scene, which he places on his kendai for a perform-
ance, even though he knows it by heart. It is made of Japanese rice
paper, bound in traditional style with string, and its calligraphic writ-
ing is in bold black brush strokes marked by red notations (kuroshu).
The words run up and down the page, five lines to a page (thus the
name gogyo
ˆ
bon [‘‘five-line book’’]), without discriminating dia-
logue from narration, or even who is speaking.
Unlike kabuki plays, bunraku scripts were normally published
after their first production, and contained annotations from both the
chanter and shamisen player. See also KEIKO BON; MARUHON.
YUKI. ‘‘Snow’’ falls in a number of kabuki plays, and consists of small
pieces of white paper (formerly triangles, squares today) placed in
loosely woven, horizontal, overhead baskets lightly shaken so that
they drop to the stage through the baskets’ spaces.
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442 • YU
ˆ
KYO
ˆ
-YU
ˆ
GAKU MONO
YU
ˆ
KYO
ˆ
-YU
ˆ
GAKU MONO. ‘‘Entertainer and entertainment plays,’’ a
subdivision of the yobanme mono (‘‘fourth-group plays’’) no
ˆ
cate-
gor y in which someone musically enter tains one or more others.
Those in which a religious acolyte (kasshiki) performs are Jinen Koji
(2), Kagetsu (2, 3), To
ˆ
gan Koji (1, 2), Ho
ˆ
ka Zo
ˆ
; those performed by
foreigners are Ikkaku Sennin (1, 5), Kantan (1), Makura Jido
ˆ
(also
called Kiku Jido
ˆ
; 1, 5), Sansho
ˆ
(1, 5), Tenko (1), and To
ˆ
sen (1, 5).
Numbers in parentheses indicate other no
ˆ
groupings into which these
plays are sometimes placed. See also GENZAI MONO; JUN WAKI
NO
ˆ
MONO; MONOGURUI MONO; NESSHIN-YU
ˆ
REI MONO;
NINJO
ˆ
MONO.
YUSURIBA. Kabuki ‘‘blackmail scenes,’’ found in many 19th-century
sewa mono, particularly in kizewa mono and shiranami mono.
Unscrupulous characters, either because they know a secret held by
someone with money, or because they have come up with a clever
stratagem for putting someone on the defensive, arrive and seek to
wheedle cash. They are important components of plays by Tsuruya
Nanboku IV and, especially, Kawatake Mokuami. Examples are
‘‘Hamamatsu-ya’’ (Aotozo
ˆ
shi Hana no Nishiki-e) and ‘‘Genyadana’’
(Yowa Nasake Ukina no Yokogushi).
Z
ZA. Originally meaning ‘‘seat,’’ this came to mean a meeting, then a
religious or professional association or ‘‘guild,’’ and, finally, any of
the
many
‘‘troupes’’ of theatrical performers during the 13th and 14th
centuries, the chief examples being those located in Yamato and O
ˆ
mi
and representing sarugaku (dengaku had even earlier za). A za dif-
fers from a ryu
ˆ
(see SCHOOLS OF NO
ˆ
AND KYO
ˆ
GEN) in that it
represents a single, specific troupe of performers. It was led by a tayu
ˆ
and comprised actors and musicians of all types. Ryu
ˆ
, on the other
hand, are groups of artists all of whom have the same specialty (shite,
waki, kyo
ˆ
gen,etc.)No
ˆ
stems from the ‘‘Yamato four’’ (Yamato
Yonza), associated with such temples as Nara’s Ko
ˆ
fuku-ji and To
ˆ
no-
mine-ji, which offered them support, and where they performed at
certain auspicious times. They were free, however, to tour whenever
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ZAMOTO • 443
possible. The oldest was the Enmai za, noted in a record of 1268 as
having been in service at Kofuku-ji. It was the beginning of what
became the Konparu ryu
ˆ
. The Sakado za became active during the
Kamakura period and, patronized by the Akamatsu daimyo
ˆ
family of
Harima Province, was associated with Hongan-ji Temple in Kyoto; it
evolved into the Kongo
ˆ
ryu
ˆ
. Both the Tobi za and the Yu
ˆ
saki za were
affiliated with To
ˆ
nomine-ji. After becoming associated with a saru-
gaku family headed by Komino Dayu
ˆ
of Yamada, Yamato, the Tobi
za developed into the Hosho
ˆ
ryu
ˆ
and the Yu
ˆ
zaki za into the Kanze
ryu
ˆ
. These ‘‘schools’’ became the officially recognized ones of the
Tokugawa shogunate. To them, early in the Edo period, was added
the Kita ryu
ˆ
. A high-ranked actor (tayu
ˆ
) headed each za. See also
SCHOOLS OF NO
ˆ
AND KYO
ˆ
GEN.
Za can also refer to a kabuki theatre (Kabuki-za, Minami-za, etc.)
or a troupe specializing in any type of theatre, such as modern drama
companies like Bungaku-za.
ZAGASHIRA. The ‘‘troupe head,’’ or actor-manager of a kabuki
troupe (za), a job normally assumed by the highest-ranking tachiya-
ku. Very few onnagata served in this role. (See TATE ONNAGATA.)
Traditionally, his name came last in the banzuke.(See KAKIDASHI;
NAKAJIKU.)
H
e held considerable prestige in Edo-period compa-
nies, serving as director, manager, and star, but his power in today’s
commercially managed system is much diminished.
ZAMOTO. In one spelling, the manager (also yagura nushi, tayu
ˆ
moto,
or tayu
ˆ
) of an Edo kabuki theatre (see also WAKADAYU
ˆ
); in another,
the leading actor of a Kamigata troupe. Edo’s managers depended
for financing on backers (kinshu). Kamigata proprietors were nadai
(not to be confused with the actor’s title of nadai), a position
obtained when an actor with producing aspirations borrowed or
rented the title of nadai from its owner. If he achieved success, he
called the theatre after himself and could be considered a zamoto in
acknowledgment of his abilities. Thus, the Kamigata zamoto was not
(as in Edo) an authorized producer, proprietor, or angel but was the
most authoritative actor in his company, something like a zagashira,
who, however, was not a producer. Eventually, the position’s power
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444 • ZANGIRI MONO
was diminished and became merely nominal, some Kamigata zamoto
even being children. See also KO
ˆ
GYO
ˆ
.
ZANGIRI MONO. The ‘‘cropped-hair plays’’ type of sewa mono that
arose in the Meiji era as an attempt to move kabuki forward in the
light of new ideas coming in from the West. The rapid inundation of
Japan by Western customs and behavior was reflected in the wearing
of Western clothes, the cutting off of the topknot (chonmage) and the
spread of cropped hair, bowler hats, pocket watches, rickshaws,
horse-drawn buggies, mail, newspapers, Western clothes, policemen,
balls, and other appurtenances of daily life. The major actor of these
plays was Onoe Kikugoro
ˆ
V and the chief writer was Kawatake
Mokuami. Still, the plays adhered to conventional kabuki drama-
turgy and conventions, and failed to make any lasting changes.
Twenty-four zangiri plays and 14 dances were produced, but the style
had run its course by 1882. They are now appreciated as quaint but
historically important reflections of Meiji practices. Still seen are
Shimachidori Tsuki no Shiranami and Suitengu
ˆ
Megumi no Fuka-
gawa. See also PLAY CATEGORIES: BUNRAKU AND KABUKI.
ZANKOKU NO BI. Kabuki’s ‘‘aesthetic of beauty.’’ The term reflects
the ar tistically heightened way in which violence and horror are
transmogrified on stage into artistic experiences that retain some-
thing of their original shock appeal while simultaneously raising
them to a higher level through the use of color, line, mass, movement,
rhythm, and music.
ZAREGUMA. A comical kumadori style of kabuki makeup with sev-
eral variations, such as numazuguma resembling a catfish worn by
the foolish priest in Shibaraku; the asagaoguma, shaped like a morn-
ing glory on the face of Asagao Senbei in Sukeroku Yukari no Edo
Zakura, etc.
ZATSU MONO. See YOBANME MONO.
ZEAMI MOTOKIYO (1363?–1443?). No
ˆ
actor, playwright,and
theorist, revered as the most important figure in no
ˆ
history. He was
the son of the early no
ˆ
pioneer Kan’ami Kiyotsugu, whose innova-
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ZEAMI MOTOKIYO (1363?–1443?) • 445
tions were exceeded and his art perfected by Zeami. Zeami acted in
his father’s Yamato sarugaku troupe (za) from early childhood, prob-
ably beginning at six or seven, under the name Saburo
ˆ
. After per-
forming in a seven-day kanjin no
ˆ
at Daigo-ji in Kyoto around 1372,
he performed in 1374 (?), when he was perhaps 11 or 12, before the
17-year-old shogun Ashikaga Yoshimitsu (1358–1408) at Imagu-
mano, Kyoto. The shogun—who had never before seen sarugaku—
was so taken with the art and with the beautiful boy and his father
that he offered them his patronage, often summoning them to his res-
idence to perform. Zeami received Yoshimitsu’s affection (much has
been made of their homosexual relationship), financial support, and
access to an education in literature and philosophy. The courtier and
renga poet Nijo
ˆ
Yoshimoto (1320–1388), who played an important
part in his education, and named him Fujiwaka, also favored Zeami.
These contacts had a significant impact in heightening his aesthetic
sensitivity, although some contemporaries criticized the relationship
between the actor and the ruler.
Zeami (abbreviated from Zeamidabutsu, a later name) took over
his father’s troupe as tayu
ˆ
when Kan’ami died in 1384. He later
passed Kan’ami’s ideas on to posterity via the first of his secret writ-
ings (hiden), the Kadensho. Zeami was also influenced by the great
dengaku and O
ˆ
mi sarugaku actors of his day, especially Inuo
ˆ
, famed
for his elegant style, as noted in the Sarugaku Dangi. Yoshimitsu’s
death in 1408 may have deprived Zeami of official support as Yo-
shimitsu’s successor Yoshimochi (1386–1428) favored dengaku and
its influential star, Zo
ˆ
ami. Whether Yoshimochi was hostile to Zeami
is deba ted. Yoshim ochi ’s su cces sor, Yoshin ori ( 1394–1441), w ho
became shogun in 1428, favored Zeami’s nephew, On’ami (Kanze
Motoshige), and treated Zeami and his family poorly, giving On’ami
privileges formerly enjoyed by Zeami, and exiling the 70-year-old
artist to Sado Island in 1434. The reason for the exile is unclear. By
1430, his second son, Motoyoshi, had left acting to become a priest,
and in 1432 his older son, Kanze Ju
ˆ
ro
ˆ
Motomasa, died, the position
of tayu
ˆ
passing to On’ami. Zeami became a lay priest around 1422
(although he continued to act), and his writings reveal intimacy with
religious concepts, as when he talks of no
ˆ
as a ‘‘way’’ (michi)to
which one must devote oneself with total commitment and humility
so that one can reach enlightenment.
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446 • ZENSHIN-ZA
Contemporary documentation of Zeami’s life after 1436 is practi-
cally nonexistent. Many suggest that he was pardoned and allowed to
return home in 1443, two years after Yoshinori’s assassination. More-
over, he is believed to have been cared for until his death by his son-
in-law, Konparu Zenchiku, to whom he passed on his secrets,
apparently preferring him to On’ami; the nature of the relationship
between Zeami and On’ami is vague.
The exact number of extant plays by Zeami is the subject of
debate, the numbers ranging from a dozen to over 100. Moreover, he
revised many extant plays by others, and his own plays had a similar
treatment from later hands. Zeami devised the two-part mugen no
ˆ
format, no
ˆ
’s representative dramatic structure.Hismasterpieces
include Izutsu, To
ˆ
ru, Takasago, Hanjo,andKinuta, the latter pair
examples of his genius at plays about obsession bordering on mad-
ness. His best plays are notable for their yu
ˆ
gen. See also KAKYO
ˆ
;
KYU
ˆ
I; SHIKADO
ˆ
; NO
ˆ
SAKUSHO; SHU
ˆ
DO
ˆ
SHO; YU
ˆ
GAKU SHU
ˆ
DO
ˆ
FU
ˆ
KEN.
ZENSHIN-ZA. The ‘‘Progressive Theatre’’ company founded in 1931
by kabuki actors Kawarazaki Cho
ˆ
ju
ˆ
ro
ˆ
IV and Nakamura
Kanemon III because of their unhappiness over kabuki’s failure to
abandon its feudal practices in the modern world. Zenshin-za soon
became known for its revivals of plays in the kabuki ju
ˆ
hachiban and
works by Tsuruya Nanboku IV, and for productions of Mayama
Seika and Hasegawa Shin. Plays by Chikamatsu Monzaemon later
made a strong impression as well.
For a time, Zenshin-za sought to produce modern interpretations
of
the
classics. It also gained notoriety when, in 1949, the entire
troupe joined the Communist Party, which excluded it from major
venues until the controversy cooled down. It produced notable reviv-
als in the postwar years. In 1967, Cho
ˆ
ju
ˆ
ro
ˆ
IV was dismissed because
of ideological differences. In 1980, the company celebrated a half-
century of progressive work. In 1982, it opened the Zenshin-za Gek-
ijo
ˆ
in Kichijo
ˆ
ji, Tokyo. The troupe remains active today.
ZO
ˆ
RI UCHI. ‘‘Sandal striking’’ situations in bunraku and kabuki plays
wherein one character delivers the ultimate insult to another by strik-
ing him/her with a sandal. Such scenes stand out in a culture where
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ZUKIN • 447
footgear never intrudes into an interior because of its association with
the dirt of the street. Classic examples are in Kagamiyama Kokyo
ˆ
no
Nishiki-e and Sukeroku Yukari no Edo Zakura.
ZUKIN. A kind of turban-like, cloth headgear seen in all forms of tra-
ditional Japanese theatre. It is worn by priests, musicians, townsmen,
etc., its shape saying much about the wearer’s profession and charac-
ter. Some have fairly flat crowns, others pointed ones. The zukin worn
by priests often has a section of cloth that hangs down and covers
the neck and sides of the face. See also COSTUMES: BUNRAKU;
COSTUMES: KABUKI; COSTUMES: NO
ˆ
.
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Appendix A: Play Title Translations
• This list offers translations only of the play titles mentioned in the
text. Where possible, literal translations of often illogical or
abstract bunraku and kabuki titles are offered, but where appro-
priate, free or simplified renderings are given. Existing translations,
where appropriate, have been borrowed for many titles, although
sometimes slightly adapted. The translations are based on the titles
themselves rather than, as is often the case with traditional Japa-
nese play titles, the contents of the plays.
• Titles in quotation marks indicate those for independent scenes
within longer works; the full titles for such works are given in
parentheses next to the scene titles, but are translated in their own
entry elsewhere on the list. The same is true for occasional popular
titles, which are given with their formal titles in parentheses.
• Apart from a few instances, place name titles remain in the original
Japanese rather than being t ranslated. Thus, Chikubushima do es
not become Chikubu Island, Adachigahara is not rendered as Ada-
chi Field, and Yoshinoyama is not given as Mount Yoshino. When
used as the last part of a place name, yama (also san or zan) indi-
cates mountain, kawa or gawa indicates river, hara indicates field,
and shima or jima indicates island. These words may also form part
of personal names.
• Titles consisting of personal names remain in the original without
additional identification. Thus, Aoi no Ue is given as such, not The
Lady Aoi or even Lady Hollyhock, and the like. However, titles
with Japanized Chinese names are translated by being given their
Chinese forms in parentheses.
• Terms in bold typeface following the titles indicate the genre(s) to
which the work belongs: bunraku, kabuki, kyo
ˆ
gen, and no
ˆ
,aswell
as such designations as shin kabuki and modern kyo
ˆ
gen and no
ˆ
.
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450 • APPENDIX A
Adachigahara no
ˆ
Aisomegawa no
ˆ
Akanezome (Dyed Red) kabuki
Akebono Soga no Youchi (Dawn after the Soga Night Attack) kabuki
Akegarasu Hana no Nureginu (The Cawing Crow at Daybreak and a
Flower Suspected) kabuki
Akegarasu Yuki no Akebono (The Cawing Crow at Daybreak and a
Snowy Dawn) kabuki
Akiko Midaregami (Akiko’s Rumpled Hair) modern no
ˆ
play
Akogi no
ˆ
‘‘Akoya Kotozeme’’ (Dan no Ura Kabuto Gunki) (‘‘Akoya’s Torture
by Koto’’) bunraku kabuki
Aku no Genta kabuki
Akutaro
ˆ
kabuki
Ama (The Fisher Girl) no
ˆ
‘‘Amagasaki’’ (Ehon Taiko
ˆ
ki) bunraku kabuki
Amida no Munewari (Amida’s Riven Breast) kojo
ˆ
ruri
Ami Moyo
ˆ
To
ˆ
ro
ˆ
no Kikukiri (The Mesh Pattern and the Lantern with
the Chrysanthemum and Paulownia Crest) kabuki
Aoi no Ue no
ˆ
Aotozo
ˆ
shi Hana no Nishiki-e (The Glorious Picture Book of Aoto’s
Exploits) kabuki
Arashiyama no
ˆ
Arido
ˆ
shi no
ˆ
Asazuma Bune (The Asazuma Boat) kabuki
Ashikari (The Rush Cutter) no
ˆ
Ashiya Do
ˆ
man O
ˆ
uchi Kagami (A Courtly Mirror of Ashiya Do
ˆ
man)
bunraku kabuki
Ataka no
ˆ
Atsumori no
ˆ
Awaji no
ˆ
Aya
no
Tsuzumi (The Damask Drum) no
ˆ
Ayatsuri Sanbaso
ˆ
(The Puppet Sanbaso
ˆ
) kabuki
Bancho
ˆ
Sarayashiki (The Gang Leader and the Mansion of Plates)
shin kabuki
Banzuin Cho
ˆ
bei Sho
ˆ
jin no Manaita (Banzuin Cho
ˆ
bei and the Mas-
ter’s Chopping Block) kabuki
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