 |
|
NIPPONIA No.22 September 15, 2002
|
|
Special Feature*
Bunraku
Written by Komatsu Megumi, Photos by Sugawara Chiyoshi
Bunraku is Japan's puppet theater. It started in Osaka in the early 1700s, and it is one of the most important dramatic art forms of old Japan, along with Noh, kyogen and Kabuki. In a bunraku puppet play, a chanter (tayu) narrates the story, accompanied by a musical instrument called a shamisen.
A scene from the puppet play Sugawara Denju Te-narai Kagami, performed at the National Theater in May 2002. The two principal puppeteers shown here are Yoshida Bunjaku (left) and Yoshida Tamao, who is Tamasho's teacher.
|
 |
|
Tamasho manipulates the legs of the character, Umeo Maru.
|
|
Bunraku stories come from samurai legends and actual events involving commoners. The puppets wear gorgeous costumes, and each theatrical scene is like a beautiful picture. But the stories are mostly sad — a woman pines for an unrequited love, a child chooses to die for his master while an anguished samurai praises the child's loyalty and hides his tears.... Bunraku portrays the feelings of people tied up in the contradictions of life.
Yoshida Tamasho is only 27, still young for a puppeteer. He began studying bunraku when he was 18, picking up skills from the master Yoshida Tamao, who is a "Living National Treasure." Tamasho now holds the position of professional puppeteer within the Bunraku Association.
|
"The tayu chanter, the shamisen player, and the puppeteers are three different elements all working in unison, and this makes bunraku spectacular. That's why I want to help keep bunraku alive for future generations. And of course I hope many people will come and watch."
In the old days, bunraku techniques were passed down from a master to his disciples, but the system was changed in 1972, and now students are first trained at the National Theater. Trainees enroll in a 2-year program, and are then officially named professional performers. After their training period, they practice under a master, learning in the old way — observing and imitating the master's technique, without being taught step by step.
Each puppet is manipulated by three operators. The first one moves the head and right arm, the second just the left arm, and the third the legs. All novices begin with the legs, and Tamasho now has this role.
"The two puppeteers operating the left arm and the feet sense the subtle movements of the head and the right shoulder, then follow along, working as a single unit. This makes the puppet move smoothly, so smoothly it sometimes appears more human than a real person. The master manipulates the head and right arm, and the other two puppeteers feel, through the puppet, as if they are part of him. It's an experience that keeps teaching me more."
Tamasho says he has to keep preparing himself mentally every day. "I don't know when, but one day I'll take on something more important than the legs. I'm doing what I can to get ready, so when that day comes I won't get flustered."  |
|
 
Above: Each puppet needs three operators. One moves the head and right arm, another the left arm, and the third the legs.
Below: These box-like clogs are worn by the puppeteers.
|
|
  |
|
|
