12.1 Origins and development of bunraku puppet theater

Bunraku puppet theater emerged in late 16th century Japan, blending storytelling and puppetry. It gained popularity among commoners in Osaka and Kyoto, incorporating elements from kabuki and noh. Key figures like Takemoto Gidayu and Chikamatsu Monzaemon shaped its development.

Bunraku performances feature a unique three-person puppetry system, with puppeteers dressed in black. A narrator (tayu) and shamisen player provide voices and music. The art form is known for its intricate puppets, elaborate stage design, and expressive manipulation techniques.

Origins and Early Development

Emergence of Ningyo Joruri

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• Ningyo joruri evolved from earlier puppet traditions in Japan during the late 16th century
• Combines narrative chanting (joruri) with puppet manipulation (ningyo)
• Gained popularity in Osaka and Kyoto as a form of entertainment for commoners
• Incorporated elements of kabuki theater and noh drama into its storytelling

Influential Figures in Bunraku's Development

• Takemoto Gidayu established the Takemoto Za theater in Osaka in 1684
  • Developed a distinct chanting style known as gidayu-bushi
  • Collaborated with playwright Chikamatsu Monzaemon to create new plays
• Chikamatsu Monzaemon, considered the Shakespeare of Japan, wrote over 100 plays for bunraku
  • Elevated the art form with complex characters and dramatic plots
  • Famous works include "The Love Suicides at Sonezaki" and "The Battles of Coxinga"

Refinement of Performance Techniques

• Standardization of puppet design and manipulation techniques occurred in the early 18th century
• Introduction of three-person puppetry system improved puppet expressiveness
• Development of elaborate stage sets and special effects enhanced visual appeal

Bunraku Performance Elements

Three-Person Puppetry System

• Main puppeteer (omozukai) controls the puppet's head and right hand
  • Requires years of training to master the intricate movements
• Left-hand puppeteer (hidarizukai) manipulates the left hand and arm
• Foot puppeteer (ashizukai) controls the puppet's feet and lower body
• Puppeteers wear black clothing to blend into the background (kurogo style)
• Coordination among puppeteers creates lifelike movements and gestures

Narrative and Musical Components

• Tayu serves as the narrator and voice actor for all characters
  • Sits on a raised platform (yuka) stage right
  • Uses different vocal techniques to portray various characters and emotions
• Shamisen player provides musical accompaniment
  • Sits next to the tayu on the yuka
  • Uses a three-stringed instrument to create atmospheric sounds and emphasize dramatic moments

Bunraku Stage Design

• Traditional bunraku stage features a narrow puppet stage with a black backdrop
• Puppeteers perform on an elevated platform behind a low wall
• Tayu and shamisen player sit on a separate raised platform (yuka) to the audience's right
• Rotating stage (mawari-butai) allows for quick scene changes
• Trapdoors and other mechanisms enable special effects and dramatic entrances

Puppet Artistry

Puppet Construction and Design

• Bunraku puppets typically measure about 1/2 to 2/3 life-size
• Head (kashira) carved from wood and painted with intricate details
  • Includes movable eyes, eyebrows, and mouth for expressive capabilities
• Body constructed with a hollow chest to reduce weight
• Hands and feet carved from wood or molded from clay
• Costumes made from high-quality fabrics with elaborate designs
• Different puppet types include:
  • Male puppets (tachiyaku)
  • Female puppets (onnagata)
  • Child puppets (kokata)

Puppet Manipulation Techniques

• Control mechanisms inside the puppet's head allow for subtle facial expressions
• Strings and levers manipulated by puppeteers create realistic movements
• Specialized techniques for portraying emotions:
  • "Breathing" effect achieved through slight up-and-down movements
  • Head tilts and turns to convey attentiveness or contemplation
• Costume manipulation enhances character portrayal:
  • Sleeve flicks to express anger or frustration
  • Kimono adjustments to show nervousness or composure