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Ningyo Johruri Bunraku Theatre



Originally performed in Osaka at the beginning of the 17th century, Ningyo Johruri Bunraku is one of the first forms of traditional Japanese puppet theatre. Ningyo refers to the doll or puppet, and Johruri refers to the narrative music. This type of art is a blend of sung narrative accompanied by the instrumental accompaniment and puppet drama. Its roots date back to the 16th century, but its origins can be traced back as early as the 1680s. This form of puppet theatre first came into existence during the early Edo period, when puppetry was coupled with Johruri, a fifteenth-century narrative genre. During the early Edo period, two principal sources influenced this form of puppet theatre: historical plays set in feudal times (Jidaimono) and contemporary dramas that depicted a conflict between the desires of the heart and the obligations of society (Sewamono).

By the mid-eighteenth century, the play had developed its staging style. Three puppeteers, visible to the audience, manipulated large articulated puppets in front of a waist-high screen. The narrator (tayu) stood on an elevated platform and recounted the action while a musician played the three-stringed spike lute (shamisen) as an accompaniment. The tayu plays all the characters, both male and female, and uses different voices and intonations in each role to fit the situation. Although the tayu is reading from a script, he has plenty of room for improvisation. The three puppeteers must carefully coordinate their movements to make the puppeteer's posture, gestures, and attitude look realistic. The puppets are often adorned with elaborate costumes and are individually handcrafted by master puppet makers.

The plots in Ningyo Johruri Bunraku are usually centered around human drama, and the orchestra is usually performed between the narrations. The timing of the music between the narrations is very significant. In addition, the skill of the puppeteers in making the puppets expresses the delicate and subtle emotions that are typical of Japanese people. It is different from many other performing arts thanks to its flamboyant and daring staging, impressive costume changes, and dynamic set changes. This art form is distinguished by the fact that, unlike similar art forms, both men and women act as puppeteers, storytellers, and shamisen players.

This theater was developed in the late nineteenth century when the Bunrakuza was a major theatre. Today, the preeminent venue is the National Bunraku Theatre in Osaka, but its highly respected troupe also performs in Tokyo and regional theatres. Approximately 160 plays have remained in today's repertory for this genre, out of 700 which were written in the Edo period. A performance that once lasted the entire day has been reduced to two or three acts. Due to its aesthetic qualities and dramatic content, it continues to appeal to modern audiences today.

References

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