"the audience. The puppeteers controlling the legs and hands are dressed entirely in black, while the head puppeteer is wearing colorful clothing. Music and chanting is a popular convention of bunraku, and the shamisen player is usually considered to be the leader of the production as well as the one with the shortest hair. Japanese modern drama in the early 20th century, the 1900s, consisted of Shingeki (experimental Western-style theatre), which employed naturalistic acting and contemporary themes in contrast to the stylized conventions of Kabuki and Noh. Hōgetsu Shimamura and Kaoru Osanai were two figures influential in the development of"
"Noh , derived from the Sino-Japanese word for ""skill"" or ""talent"", is a major form of classical Japanese musical drama that has been performed since the 14th century. Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today. Traditionally, a ""Noh"" program includes five ""Noh"" plays with comedic ""kyōgen"" plays in between; an abbreviated program of two ""Noh"" plays and one ""kyōgen"" piece has become common in ""Noh"" presentations today. An ""okina"" (翁) play may be presented in the very beginning especially at New Year, holidays, and other special occasions."
"forms of Japanese music, dance, and theater have survived in the contemporary world, enjoying some popularity through reidentification with Japanese cultural values. Traditional music and dance, which trace their origins to ancient religious use—Buddhist, Shintō, and folk—have been preserved in the dramatic performances of Noh, Kabuki, and bunraku theater. Ancient court music and dance forms deriving from continental sources were preserved through Imperial household musicians and temple and shrine troupes. Some of the oldest musical instruments in the world have been in continuous use in Japan from the Jōmon period, as shown by finds of stone and clay flutes and"
"as it is first recorded in Zeami's ""Style and the Flower"" written in the 14th century. Some of the masks of the Konparu school belong to the Tokyo National Museum, and are exhibited there frequently. The traditional Noh stage has complete openness that provides a shared experience between the performers and the audience throughout the performance. Without any proscenium or curtains to obstruct the view, the audience sees each actor even during the moments before they enter (and after they exit) the central ""stage"". The theatre itself is considered symbolic and treated with reverence both by the performers and the"
"still performed in the same fashion. As a matter of interest, the popular Gekidan Shinkansen, a theatrical troupe based in Tokyo today, insists it follows pure kabuki tradition by performing historical roles in a modern, noisy, and outlandish way characteristic of this theatrical method. Whether or not they represent traditional kabuki, however, remains a matter of debate and personal opinion. Puppets and Bunraku were used in Japanese theatre as early as the Noh plays. Medieval records prove the use of puppets actually in Noh plays. The puppets were 3- to 4-foot-tall () dolls manipulated by puppeteers in full view of"
"recitation is given like Sarugaku"". Sarugaku , was a form of theatre popular in Japan during the 11th to 14th centuries. It originated from ""sangaku,"" a form of entertainment reminiscent of the modern-day circus, consisting mostly of acrobatics, juggling, and pantomime, sometimes combined with drum dancing. It came from China to Japan in the 8th century and there mingled with indigenous traditions, particularly the harvest celebrations of dengaku. In the 11th century, the form began to favor comic sketches while other elements faded away. By the late 12th century, the term ""sarugaku"" had come to include comic dialogues based on"
"Sarugaku , was a form of theatre popular in Japan during the 11th to 14th centuries. It originated from ""sangaku,"" a form of entertainment reminiscent of the modern-day circus, consisting mostly of acrobatics, juggling, and pantomime, sometimes combined with drum dancing. It came from China to Japan in the 8th century and there mingled with indigenous traditions, particularly the harvest celebrations of dengaku. In the 11th century, the form began to favor comic sketches while other elements faded away. By the late 12th century, the term ""sarugaku"" had come to include comic dialogues based on word play (toben), improvised comic"
"namely the new ruling ""samurai"" class of the time. The transferral of the shogunate from Kamakura to Kyoto at the beginning of Muromachi period marked the increasing power of the samurai class and strengthened the relationship between the shogunate and the court. As ""Noh"" became the ""shōgun""s favorite art form, ""Noh"" was able to become a courtly art form through this newly formed relationship. In 14th century, with strong support and patronage from ""shōgun"" Ashikaga Yoshimitsu, Zeami was able to establish ""Noh"" as the most prominent theatre art form of the time. Kan'ami Kiyotsugu and his son Zeami Motokiyo brought"
"in the flourishing cities. Pottery such as Imari ware was highly valued as far away as Europe. In theater, Noh is a traditional, spare dramatic form that developed in tandem with kyōgen farce. In stark contrast to the restrained refinement of noh, kabuki, an ""explosion of color"", uses every possible stage trick for dramatic effect. Plays include sensational events such as suicides, and many such works were performed in both kabuki and bunraku puppet theaters. Since the Meiji Restoration, Japan has absorbed elements of Western culture and has given them a ""Japanese"" feel or modification into it. Its modern decorative,"
"14th century reign of ""shōgun"" Ashikaga Takauji. Asano became En'ya Hangan Takasada, Kira became Kō no Moronao and Ōishi became Ōboshi Yuranosuke Yoshio; the names of the rest of the ""rōnin"" were disguised to varying degrees. The play contains a number of plot twists that do not reflect the real story: Moronao tries to seduce En'ya's wife, and one of the ""rōnin"" dies before the attack because of a conflict between family and warrior loyalty (another possible cause of the confusion between forty-six and forty-seven). The story was turned into an opera, ""Chūshingura"", by Shigeaki Saegusa in 1997. The play"
"the Japanese for hundreds of years. Japan, after a long period of civil wars and political disarray, was unified and at peace primarily due to shōgun Tokugawa Ieyasu (1543–1616). However, alarmed at increasing Christian growth, he cut off contact from Japan to Europe and China and outlawed Christianity. When peace did come, a flourish of cultural influence and growing merchant class demanded its own entertainment. The first form of theatre to flourish was Ningyō jōruri (commonly referred to as Bunraku). The founder of and main contributor to Ningyō jōruri, Chikamatsu Monzaemon (1653–1725), turned his form of theatre into a true"
"own entertainment. The first form of theatre to flourish was Ningyō jōruri (commonly referred to as Bunraku). The founder of and main contributor to Ningyō jōruri, Chikamatsu Monzaemon (1653–1725), turned his form of theatre into a true art form. Ningyō jōruri is a highly stylized form of theatre using puppets, today about 1/3d the size of a human. The men who control the puppets train their entire lives to become master puppeteers, when they can then operate the puppet's head and right arm and choose to show their faces during the performance. The other puppeteers, controlling the less important limbs"
"Sewamono Sewamono (世話物) is a genre of contemporary setting plays in Japanese traditional theatre. The term applies to both bunraku and kabuki. The genre is in contrast to ""period setting plays"" or jidaimono. Though the distinction between ""historical"" and ""contemporary"" is not exact, and there are also plays that do not fit either category. Sewamono plays are naturalistic and set in contemporary normal environments rather the historical and samurai plays typical of the bombastic aragoto style. In the conflicted lovers genre, such as ""The Love Suicides at Sonezaki"", conflict between emotions (""ninjo"") and social pressure (""giri"") form the motor of"
"beginning in 7th century) evolved into ""Noh"" and ""kyōgen"". Studies on genealogy of the ""Noh"" actors in 14th century indicate they were members of families specialized in performing arts; they had performed various traditional performance arts for many generations. Sociological research by Yukio Hattori reveals that the Konparu School (), arguably the oldest school of ""Noh"", is a descendant of Mimashi (味摩之), the performer who introduced ""gigaku"", now-extinct masked drama-dance performance, into Japan from Kudara Kingdom in 612. Another theory by Shinhachirō Matsumoto suggests ""Noh"" originated from outcastes struggling to claim higher social status by catering to those in power,"
"Kōwakamai Kōwakamai may have evolved from the dance form called ""kusemai"" of the 14th century, sharing its origins in traditional court dance and music with ""nō"" and ""kabuki"". Little is actually known about how the dance was performed in the warlord to shogunate periods. A remnant of the kōwakamai is performed every year on January 20 at Tenman-jinja, a shintō shrine in Ōe. Kōwakamai (along with Noh) is a form of entertainment enjoyed by warrior-class families during Japan's medieval age. Kōwakamai performances were celebratory but also the cause for sorrow. Many of the pieces are sorrowful tales, ranging from resoundingly"
"the ""Taiheiki""s tendencies towards drama and exaggeration are acknowledged, but the text is regarded as remaining mostly accurate. It is the primary source on many of the warriors and battles of this period, and also documents elements of the fall of the powerful and historically important Hōjō clan. NHK's 1991 taiga drama ""Taiheiki"" was noted for its portrayal of Ashikaga Takauji as an agent of change against the decadent Hōjō, rather than a national traitor as generally viewed by Japanese historians. Taiheiki The (Chronicle of Great Peace) is a Japanese historical epic (see ""gunki monogatari"") written in the late 14th"
"gain a better future. The ultimate goal was to escape the cycle of death and rebirth by attaining true insight. The four traditional theatres from Japan are ""noh"" (or ""nō""), ""kyōgen"", ""kabuki"", and ""bunraku"". Noh had its origins in the union of the ""sarugaku"", with music and dance made by Kanami and Zeami Motokiyo. Among the characteristic aspects of it are the masks, costumes, and the stylized gestures, sometimes accompanied by a fan that can represent other objects. The ""noh"" programs are presented in alternation with the ones of ""kyōgen"", traditionally in number of five, but currently in groups of"
"Nagoya Noh Theater The Nagoya Noh Theater (名古屋能楽堂) is a Noh drama theatre building located in the city of Nagoya, central Japan. The history of Noh in Owari Province dates back to the heyday of feudal rule, when performances were shown at the Ninomaru Palace of Nagoya Castle. The palace had two stages for performances of Noh: the ""omote-butai"", or front stage, and ""oku-butai"", the rear stage. Noh was performed to commemorate a lord's succession to a fiefdom and to celebrate the birth of an heir. The Owari branch of the ruling Tokugawa clan were patrons of many Noh actors."
"public transport is Shiyakusho Station on the Meijo Line. Nagoya Noh Theater The Nagoya Noh Theater (名古屋能楽堂) is a Noh drama theatre building located in the city of Nagoya, central Japan. The history of Noh in Owari Province dates back to the heyday of feudal rule, when performances were shown at the Ninomaru Palace of Nagoya Castle. The palace had two stages for performances of Noh: the ""omote-butai"", or front stage, and ""oku-butai"", the rear stage. Noh was performed to commemorate a lord's succession to a fiefdom and to celebrate the birth of an heir. The Owari branch of the"
"Japan, presenting both professional and amateur productions. Public theatres include National Noh Theatre (Tokyo), Nagoya Noh Theater, and Osaka Noh Theater. Each Noh school has its own permanent theatre, such as Kanze Noh Theater (Tokyo), Hosho Noh Theater (Tokyo), Kongo Noh Theater (Kyoto), and Nara Komparu Noh Theater (Nara). Additionally, there are various prefectural and municipal theatres located throughout Japan that present touring professional companies and local amateur companies. In some regions, unique regional Noh such as Ogisai Kurokawa Noh have developed to form schools independent from five traditional schools. Audience etiquette is generally similar to formal western theatre—the audience"
"performance of ""Atsumori"" was also performed in Kyoto by the Kōwakamai Society in February 2009. At the same time as the Kyoto ""Atsumori"" performance, ""Ataka"" was also staged. Both performances were recorded on CD & DVD by the Kyoto City University of the Arts' Research Centre for Japanese Traditional Music. Kōwakamai Kōwakamai may have evolved from the dance form called ""kusemai"" of the 14th century, sharing its origins in traditional court dance and music with ""nō"" and ""kabuki"". Little is actually known about how the dance was performed in the warlord to shogunate periods. A remnant of the kōwakamai is"
"Taishō era and are protected. Noh theatre and Kyōgen date back to the feudal times of the Owari Tokugawa. The Nagoya Noh Theater at Nagoya Castle continues that tradition and is a prominent feature in the cultural life of the city, with monthly performances. Developed during the Edo period, one of Japan's ""kabuki"" grand stages is Misono-za, which also hosts various other Japanese entertainment such as concerts. In 1912 the musician Gorō Morita invented the Nagoya harp music instrument. In 1992, the large, modern Aichi Arts Center was opened in Sakae. It is the main venue for performing arts, featuring"
"Bunraku , also known as ""Ningyō jōruri"" (), is a form of traditional Japanese puppet theatre, founded in Osaka in the beginning of 17th century. Three kinds of performers take part in a bunraku performance: the ""Ningyōtsukai"" or ""Ningyōzukai"" (puppeteers), the ""Tayū"" (chanters), and ""shamisen"" musicians. Occasionally other instruments such as taiko drums will be used. The most accurate term for the traditional puppet theater in Japan is . The combination of chanting and shamisen playing is called ""jōruri"" and the Japanese word for puppet (or dolls, generally) is ""ningyō"". It is used in many plays. Bunraku puppetry has been"
"is) performed in full-day programs. Rather than attending for 2–5 hours, as one might do in a modern Western-style theater, audiences ""escape"" from the day-to-day world, devoting a full day to entertainment. Though some individual plays, particularly the historical ""jidaimono"", might last an entire day, most were shorter and sequenced with other plays in order to produce a full-day program. The structure of the full-day program, like the structure of the plays themselves, was derived largely from the conventions of ""bunraku"" and ""Noh"", conventions which also appear in other traditional Japanese arts. Chief among these is the concept of ""jo-ha-kyū"""
"The puppeteers stood behind the joshiki-maku, holding their puppets above the curtain while being hidden from the audience. However, the ""dezukai"" practice established later in the Bunraku form would let the actors be seen on stage moving with the puppets, nulling the use of the curtains. Bunraku , also known as ""Ningyō jōruri"" (), is a form of traditional Japanese puppet theatre, founded in Osaka in the beginning of 17th century. Three kinds of performers take part in a bunraku performance: the ""Ningyōtsukai"" or ""Ningyōzukai"" (puppeteers), the ""Tayū"" (chanters), and ""shamisen"" musicians. Occasionally other instruments such as taiko drums will"
"the plot. The engirimono, cut-knot-thing meaning “drama of cutting the lovers' knot"" such as Namiki Gohei's ""Godairiki Koi no Fujime"" is a subcategory of sewamono. Sewamono Sewamono (世話物) is a genre of contemporary setting plays in Japanese traditional theatre. The term applies to both bunraku and kabuki. The genre is in contrast to ""period setting plays"" or jidaimono. Though the distinction between ""historical"" and ""contemporary"" is not exact, and there are also plays that do not fit either category. Sewamono plays are naturalistic and set in contemporary normal environments rather the historical and samurai plays typical of the bombastic aragoto"
"at performances. It influenced several later works of literature. ""Aisome-gawa"" is a Noh play. More specifically, if is classified as a ""genzai"" Noh (現在能), a relatively realistic work featuring human characters and taking place in a linear time line. It is a ""yonbanme-mono"" (四番目物). It is of unknown authorship, and in the modern era it is part of the repertoires of both the Kanze and Konparu (金春流) schools. The Hōshō school used to perform it as well, but dropped it during the Meiji period. The play's first recorded performance was in 1514. A woman who has had sexual relations with"
"and later became a respected authority on Oriental art and culture. Bowers is known in Japan as ""the man who saved ""kabuki"""" because he advocated successfully for the preservation of this form of art when General MacArthur held the view that it should be banned due to its portrayal of feudal values. During the occupation of Japan, the Tokyo Army College produced numerous plays, many of which belonged to the Kabuki tradition, performed by some of the most famous Kabuki actors in Japan. Playbills for these productions are considered collectors' items and are available through certain rare books dealers. Tokyo"
"Japan's traditional dramatic forms both saw their birth and evolution in Kyoto, while Bunraku, Japanese puppet theater, is native to Osaka. Kansai's unique position in Japanese history, plus the lack of damage from wars or natural disasters has resulted in Kansai region having more UNESCO World Heritage Listings than any other region of Japan. The five World Heritage Listings include: Buddhist Monuments in the Hōryū-ji Area, Himeji Castle, Historic Monuments of Ancient Kyoto (Kyoto, Uji and Otsu Cities), Historic Monuments of Ancient Nara, and Sacred Sites and Pilgrimage Routes in the Kii Mountain Range. International schools have served expatriates in"
"of the theatre and the troupe. The piece was standardized somewhat in the early 19th century by Danjūrō VII, and reworked again by Danjūrō IX at the end of that century. This version has been performed since then. A scene of roughly 50 minutes, ""Shibaraku"" is not a play unto itself, but a short drama inserted during interludes or in between full plays to provide variety and maintain a certain level of energy and interest on the part of the audience. Today is played mostly on special occasions, such as to celebrate an actor's name changing ceremony. Like many other"
"reintroduce actresses in ""kabuki"" had not been well accepted. Another characteristic of kabuki is the use of makeup for the actors in historical plays (""kumadori""). Japanese puppet theater ""bunraku"" developed in the same period, that ""kabuki"" in a competition and contribution relation involving actors and authors. The origin of ""bunraku"", however is older, lies back in the Heian period. In 1914, appeared the Takarazuka Revue a company solely composed by women who introduced the revue in Japan. Japanese architecture has as long of a history as any other aspect of Japanese culture. Originally heavily influenced by Chinese architecture, it has"
"forms of modern fictional media today. Due to admiration for his loyalty, Ranmaru has been depicted as a loyal page of Nobunaga in various works of classical Japanese art. Such works include ukiyo-e prints by artists such as Kuniyoshi, Yoshitoshi, and Toshihide. He has also been a character in kabuki plays such as Tsuruya Namboku IV's ""Toki-ha Ima Kikyô no Hataage"". In most modern media his portrayal as a loyal servant to Nobunaga is generally continued. Such portrayals are in historical drama films and television programs such as Akira Kurosawa's ""Kagemusha"" and various Taiga dramas, in novels such as Eiji"
"Jidaimono Jidaimono (時代物) are Japanese kabuki or jōruri plays that feature historical plots and characters, often famous samurai battles. These are in contrast to ""sewamono"" (世話物), contemporary plays, which generally focus on commoners and domestic issues. ""Jidaimono"" is usually translated as ""period plays"". Film and television productions in this mode are called ""jidaigeki"" (時代劇), and share many of the same features. As the stereotypical audience for jōruri and kabuki were commoners (""chōnin""), stories involving court nobles and heroic samurai were of a more distant subject matter than those that dealt with contemporary, urban commoner themes. Even though many of the"