Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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Matsukaze, a third-group (sanbanme mono) nô play. Matsukaze, Kita Minoru. Notice the chorus (jiutai) at right, the musicians

upstage, and the

property pine tree standing in a tsukuri mono frame. (Photo courtesy of Masuda Shôzô)

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Dôjô-ji, a fourth-group (yobanme mono) nô play. Shirabyôshi dancer, Shiozu Tetsuo.

(Photo courtesy of Masuda Shôzô)

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Funa Benkei, a ﬁfth-group (gobanme mono) nô play. Tomomori, Awaya Shintarô. (Photo

courtesy of Masuda Shôzô)

A male

bunraku puppet without its

costuming, ﬁtted to a stand in a backstage

room. The armature for operating its left

arm is seen at the right. (From

Shibai

Gakuya-Zue

, 1801)

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Above, the right hand of a male

bunraku puppet, showing the

armature that manipulates it and

makes the articulated ﬁngers move.

Below, a hand without articulated

ﬁngers, with a lever for making the

wrist move. (From

Shibai Gakuya-

Zue

1801)

A male

bunraku head, showing the

toggle arrangement on the neck handle

for manipulating its movements. (From

Shibai Gakuya-Zue 1801)

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Bunraku puppet heads. Top row (left to right): babâ, bunshichi, danshichi, fuke oyama;

second row (left to right):

genta, gabu, kenbishi, kiichi; third row (left to right): kintoki,

fuke oyama, komei, ôshûto; bottom row (left to right): sadanoshin, shiradayû, waka

otoko

. (From Engeki Grafu 1952)

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The Fox-Tadanobu (Onoe

Shôroku II

) performing the

kitsune roppô exit on the

hanamichi in Yoshitsune

Senbon Zakura

. (Author’s

collection)

Bunraku’s three-man puppet handling

system (

sannin zukai). The puppeteer on

the left (

hidarizukai) handles the left

arm, the crouching ﬁgure (

ashizukai)

handles the feet, while the chief operate

(

omizukai), standing on high clogs,

handles the head and right arm.

(Drawing by Justin Leiter)

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A scene from Kawatake Mokuami’s kabuki sewa mono Aotozôshi Hana no Nishiki-e.

Left to right, a ﬁreman (Nakamura Matagorô II), Nango Rikimaru (Nakamura Kichiemon

II), and Benten Kozô (Matsumoto Kôshirô IX). (Author’s collection)

A scene from the

bunraku

version of Natsu Matsuri

Naniwa Kagami

,a sewa mono

play. (“Collection of Materials

for Educational Use Site”

www2.edu.ipa.go.jp/gz)

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The lion (Nakamura Tomijûrô V) poses in the kabuki dance drama, Kagami Jishi.

(Author’s collection)

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Bunraku stage of the early 19th century. Its essential features are still in use. At the bottom of the left picture is the

troughlike

hanamichi, its sides raised to hide the lower portion of the puppeteers’ bodies. It joins the foremost horizontal

border (

san no te). The horizontal border (tesuri) just upstage of this is the ni no te, at either side of which is a black

curtain, that on stage right bearing the theatre’s crest (

mon). The lowered area between these curtains is the funazoko.

The border fronting the interior scenic unit upstage is the

ichi no te or honte. The chanter and shamisen player’s platform

(

yuka) is at stage left. A screened-in musicians’ room is directly over it. (From Shibai Gakuya-Zue, 1801)

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The interior of the Shintomi-za (see MORITA-ZA), illustrating the layout of a late 19th-century kabuki theatre: (a)

madobuta, (b) audience left upper sajiki, (c) hanamichi, (d) geza, (e) doma, (f) hikimaku, (g) masu, (h) tsukeuchi (see

TSUKE), (i) yuka, (j) kari hanamichi, (k) takadoma, (l) shin takadoma, (m) audience right upper sajiki.

(Author’s collection)

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