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Bunraku
The theatrical performance of sophisticated puppet plays, originally called ningyo joruri katari, dates from the 17th century. As puppet plays became popular they came to be known as bunraku after Uemura Bunrakuken (1737-1810), a joruri singer and founder of a theatrical troupe in Osaka called the Bunrakuza. The originator of the bunraku repertoire, however, was Takemoto Gidayu (1651-1714), founder of a puppet theatre called the Takemotoza, also in Osaka; he created this repertoire, based on historical dramas, in collaboration with Chikamatsu Monzaemon, one of the greatest playwrights for the kabuki theatre (sec S-26-2-5/6).
Bunraku puppets vary in size, the largest, the most important characters, being about two-thirds lifesize. They are controlled by rods and levers in the neck, hands and feet and the large puppets are capable of a great range of facial expression. The puppeteers, standing behind the puppets in full view of the audience, raise themselves up to the required height for the size of puppet they are manipulating by wearing special platform geta (sce S-3-7-3/4) shod with metal; the stamping of these geta punctuates the action of the play. Large dolls require the manipulation of three men: a senior member of the troupe and two assistants.
Vocal accompaniment to bunraku, in the form of a narrative called gidayu-bushi, is sung by one man, accompanied by samisen. Since 1963, the art has been supported by the Bunraku Association and performances have been given in many countries overseas.