【人形浄瑠璃】 文楽 【総合スレッド】
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which is operated by three manipulators is about a half life-size. The puppets seen on stage are elaborately
costumed in traditional Japanese style. The Chief Manipulator (Omodzukai) holds the puppet and moves
it's head (Kashira) and body using his left hand in the body through the opening at the back of the puppet. He also controls the puppet's right hand with his right hand. Only the Chief Manipulator shows his face in most scenes (Dedzukai).
The Second Manipulator (Hidaridzukai) moves the puppet's left hand and assists the Chief Manipulator.
The Third Manipulator (Ashidzukai) moves the puppet's legs. Usually, a female puppet has no legs as a rule,
so the Third Manipulator moves its skirt and creates the illusion of moving legs.
Imagine three individual people moving one puppet, even a simple movement, like clapping hands, is difficult
to accomplish. Learning manipulate a Bunraku puppet requires hard training for many years. A Ningyo operated
by skilled manipulators looks as if it has life.On an elevated platform at the right side of the stage, two people
in formal dress (Kamishimo) are sitting. They are the Joruri reciter (Tayu) and the Shamisen player (Shamisen).
Tayu is the only person who makes vocalization in the play. He recites special music (Gidayu Bushi),
tells the story and takes charge of the puppets' voices. He is a singer, a narrator and a vocal player
(provide various kinds of voices of characters). Tayu often plays the role of a conductor by reciting Joruri
because Bunraku consists of three parts (Ningyo, Joruri, Shamisen). The play is called Joruri and is usually
recited using the Kamigata dialect.The Shamisen is an orchestra made of one person. It is not only accompaniment music,
the largest body and the thickest strings, which make a dramatic resonant sound. Another kind of music which uses
the Hutozao, the Tsugaru Shamisen is also famous. But, the mood created is very different from BUNRAKU.
costumed in traditional Japanese style. The Chief Manipulator (Omodzukai) holds the puppet and moves
it's head (Kashira) and body using his left hand in the body through the opening at the back of the puppet. He also controls the puppet's right hand with his right hand. Only the Chief Manipulator shows his face in most scenes (Dedzukai).
The Second Manipulator (Hidaridzukai) moves the puppet's left hand and assists the Chief Manipulator.
The Third Manipulator (Ashidzukai) moves the puppet's legs. Usually, a female puppet has no legs as a rule,
so the Third Manipulator moves its skirt and creates the illusion of moving legs.
Imagine three individual people moving one puppet, even a simple movement, like clapping hands, is difficult
to accomplish. Learning manipulate a Bunraku puppet requires hard training for many years. A Ningyo operated
by skilled manipulators looks as if it has life.On an elevated platform at the right side of the stage, two people
in formal dress (Kamishimo) are sitting. They are the Joruri reciter (Tayu) and the Shamisen player (Shamisen).
Tayu is the only person who makes vocalization in the play. He recites special music (Gidayu Bushi),
tells the story and takes charge of the puppets' voices. He is a singer, a narrator and a vocal player
(provide various kinds of voices of characters). Tayu often plays the role of a conductor by reciting Joruri
because Bunraku consists of three parts (Ningyo, Joruri, Shamisen). The play is called Joruri and is usually
recited using the Kamigata dialect.The Shamisen is an orchestra made of one person. It is not only accompaniment music,
the largest body and the thickest strings, which make a dramatic resonant sound. Another kind of music which uses
the Hutozao, the Tsugaru Shamisen is also famous. But, the mood created is very different from BUNRAKU.
The Bunraku Puppet Theatre,which is the most refined form of puppetry in the world, is a combination
of three skills each of which requires many years of training to master──puppet manipulation, joruri recitation
and samisen music.The dolls of the Bunraku Puppet Show are about half life-size.Their eyes move. their eyebrows
rise in surprise, their mouths open and shut and their hands and arms gesture gracefully and realistically.
Each of the principal dolls is operated by three manipurators who work in perfect unison. The manipurators carry
the dolls on to the stage and are visible throughout the play. The chief manipurator holds the puppet from the back
with his left hand by a special grip in the figure's chest and directs the puppet's right arm with his right hand.
The second operator moves the left hand and the third,the legs. As a female doll has no legs as a rule, the third
operator moves its skirt in such a way as to create an illusion of moving legs.
The joruri reciter, who tells the story which the puppets act, and who chants, shouts, whispers or sobs the dialogue
for all characters appearing in the play, sits with his samisen accompanist, each resplendent in the traditional
kamisimo dress, in full view on an elevated dais at the right side of the stage.
of three skills each of which requires many years of training to master──puppet manipulation, joruri recitation
and samisen music.The dolls of the Bunraku Puppet Show are about half life-size.Their eyes move. their eyebrows
rise in surprise, their mouths open and shut and their hands and arms gesture gracefully and realistically.
Each of the principal dolls is operated by three manipurators who work in perfect unison. The manipurators carry
the dolls on to the stage and are visible throughout the play. The chief manipurator holds the puppet from the back
with his left hand by a special grip in the figure's chest and directs the puppet's right arm with his right hand.
The second operator moves the left hand and the third,the legs. As a female doll has no legs as a rule, the third
operator moves its skirt in such a way as to create an illusion of moving legs.
The joruri reciter, who tells the story which the puppets act, and who chants, shouts, whispers or sobs the dialogue
for all characters appearing in the play, sits with his samisen accompanist, each resplendent in the traditional
kamisimo dress, in full view on an elevated dais at the right side of the stage.
The samisen accompanist is no less important an element in the puppet show. The samisen provides not only a musical
accompaniment to the joruri recitation but also an indication, where apprpriate, of the sound of rain or wind or
other effects to heighten the atmosphere of the scene.Most of the plays in the Bunraku repertoire are classics written
in the 18th century. Though about 50 new plays have been presented after World War Ⅱ、most of them are not likely
to be staged again, where as most of the classics are certain of constsnt repetition.
The Goverment is giving great support to the Bunraku Puppet Theatre, designating it as an important intangible cultural
asset. In 1984 the National Bunraku Theatre was established in Osaka, the birthplace of Bunraku. At this theatre
six series of Bunraku performances, each lasting about two weeks, are scheduled to be held every year.
accompaniment to the joruri recitation but also an indication, where apprpriate, of the sound of rain or wind or
other effects to heighten the atmosphere of the scene.Most of the plays in the Bunraku repertoire are classics written
in the 18th century. Though about 50 new plays have been presented after World War Ⅱ、most of them are not likely
to be staged again, where as most of the classics are certain of constsnt repetition.
The Goverment is giving great support to the Bunraku Puppet Theatre, designating it as an important intangible cultural
asset. In 1984 the National Bunraku Theatre was established in Osaka, the birthplace of Bunraku. At this theatre
six series of Bunraku performances, each lasting about two weeks, are scheduled to be held every year.
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The narrator sits with his shamisen accompanist, each resplendent in traditional kamishimo dress, in full view on
an elevated dais at the right side of the stage. The shamisen accompanist is no less important an element in the puppet
show. The shamisen provides not only a musical accompaniment to the joruri narration but also an indication,
where appropriate, of the sound of rain or wind or other effects to heighten the atmosphere of the scene.
Most of the plays in the bunraku repertoire are classics written in the l8th century. Although about 50 new plays
have been presented since World War II, most of them are not likely to be staged again, whereas most of the classics
are certain of constant repetition. The Government is giving great support to Bunraku puppet theater, designating
it as an important intangible cultural asset. In 1984 the National Bunraku Theater was established in Osaka,
the birthplace of bunraku. Six series of bunraku performances, each lasting about two weeks, are scheduled to be heldevery year at the theater.
an elevated dais at the right side of the stage. The shamisen accompanist is no less important an element in the puppet
show. The shamisen provides not only a musical accompaniment to the joruri narration but also an indication,
where appropriate, of the sound of rain or wind or other effects to heighten the atmosphere of the scene.
Most of the plays in the bunraku repertoire are classics written in the l8th century. Although about 50 new plays
have been presented since World War II, most of them are not likely to be staged again, whereas most of the classics
are certain of constant repetition. The Government is giving great support to Bunraku puppet theater, designating
it as an important intangible cultural asset. In 1984 the National Bunraku Theater was established in Osaka,
the birthplace of bunraku. Six series of bunraku performances, each lasting about two weeks, are scheduled to be heldevery year at the theater.
Already in the Heian period (794-1185), itinerant puppeteers known as kugutsumawashi traveled around Japan playing
door-to-door for donations. In this form of street entertainment, which continued up through the Edo period,
the puppeteer manipulated two hand puppets on a stage that consisted of a box suspended from his neck. A number
of the kugutsumawashi are thought to have settled at Nishinomiya and on the island of Awaji, both near present-day Kobe.
In the sixteenth century, puppeteers from these groups were called to Kyoto to perform for the imperial family and military leaders. It was around this time that puppetry was combined with the art of joruri.
A precursor of joruri can be found in the blind itinerant performers, called biwa hoshi, who chanted The Tale of the Heike,
a military epic depicting the Taira-Minamoto War, while accompanying themselves on the biwa, a kind of lute.
In the sixteenth century, the shamisen replaced the biwa as the instrument of choice, and the joruri style developed.
The name joruri came from one of the earliest and most popular works chanted in this style, the legend
of a romance between warrior Minamoto no Yoshitsune and the beautiful Lady Joruri.
The art of puppetry combined with chanting and shamisen accompaniment grew in popularity in the early seventeenth century
in Edo (now Tokyo), where it received the patronage of the shogun and other military leaders. Many of the plays
at this time presented the adventures of Kimpira, a legendary hero renowned for his bold, outlandish exploits.
door-to-door for donations. In this form of street entertainment, which continued up through the Edo period,
the puppeteer manipulated two hand puppets on a stage that consisted of a box suspended from his neck. A number
of the kugutsumawashi are thought to have settled at Nishinomiya and on the island of Awaji, both near present-day Kobe.
In the sixteenth century, puppeteers from these groups were called to Kyoto to perform for the imperial family and military leaders. It was around this time that puppetry was combined with the art of joruri.
A precursor of joruri can be found in the blind itinerant performers, called biwa hoshi, who chanted The Tale of the Heike,
a military epic depicting the Taira-Minamoto War, while accompanying themselves on the biwa, a kind of lute.
In the sixteenth century, the shamisen replaced the biwa as the instrument of choice, and the joruri style developed.
The name joruri came from one of the earliest and most popular works chanted in this style, the legend
of a romance between warrior Minamoto no Yoshitsune and the beautiful Lady Joruri.
The art of puppetry combined with chanting and shamisen accompaniment grew in popularity in the early seventeenth century
in Edo (now Tokyo), where it received the patronage of the shogun and other military leaders. Many of the plays
at this time presented the adventures of Kimpira, a legendary hero renowned for his bold, outlandish exploits.
It was in the merchant city of Osaka, however, that the golden age of ningyo joruri was inaugurated through the talents
of two men: tayu (chanter) Takemoto Gidayu (1651-1714) and the playwright Chikamatsu Monzaemon.
After he opened the Takemotoza puppet theater in Osaka in 1684, Gidayu's powerful chanting style, called gidayu-bushi,
came to dominate joruri. Chikamatsu began writing historical dramas (jidai-mono) for Gidayu in 1685. Later he spent more
than a decade writing mostly for kabuki, but in 1703 Chikamatsu returned to the Takemotoza, and from 1705 to the end
of his life he wrote exclusively for the puppet theater. There has been much debate as to why Chikamatsu turned
to writing for kabuki and then returned to bunraku, but this may have been the result of dissatisfaction with the
relative position of the playwright and actor in kabuki. Famous kabuki actors of the day considered the play raw material
to be molded to better display their own talents.
In 1703, Chikamatsu pioneered a new kind of puppet play, the domestic drama (sewa-mono), which brought new prosperity
to the Takemotoza. Only one month after a shop clerk and a courtesan committed double suicide, Chikamatsu dramatized
the incident in The Love Suicides at Sonezaki. The conflict between social obligations (giri) and human feelings (ninjo)
found in this play greatly moved audiences of the time and became a central theme for bunraku.
Domestic dramas, such as Chikamatsu's series of love-suicide plays, became a favorite subject for the puppet theater.
Historical dramas, however, also continued to be popular and became more sophisticated as audiences came to expect
he psychological depth found in the domestic plays. One example of this is Kanadehon Chushingura, perhaps the most
of two men: tayu (chanter) Takemoto Gidayu (1651-1714) and the playwright Chikamatsu Monzaemon.
After he opened the Takemotoza puppet theater in Osaka in 1684, Gidayu's powerful chanting style, called gidayu-bushi,
came to dominate joruri. Chikamatsu began writing historical dramas (jidai-mono) for Gidayu in 1685. Later he spent more
than a decade writing mostly for kabuki, but in 1703 Chikamatsu returned to the Takemotoza, and from 1705 to the end
of his life he wrote exclusively for the puppet theater. There has been much debate as to why Chikamatsu turned
to writing for kabuki and then returned to bunraku, but this may have been the result of dissatisfaction with the
relative position of the playwright and actor in kabuki. Famous kabuki actors of the day considered the play raw material
to be molded to better display their own talents.
In 1703, Chikamatsu pioneered a new kind of puppet play, the domestic drama (sewa-mono), which brought new prosperity
to the Takemotoza. Only one month after a shop clerk and a courtesan committed double suicide, Chikamatsu dramatized
the incident in The Love Suicides at Sonezaki. The conflict between social obligations (giri) and human feelings (ninjo)
found in this play greatly moved audiences of the time and became a central theme for bunraku.
Domestic dramas, such as Chikamatsu's series of love-suicide plays, became a favorite subject for the puppet theater.
Historical dramas, however, also continued to be popular and became more sophisticated as audiences came to expect
he psychological depth found in the domestic plays. One example of this is Kanadehon Chushingura, perhaps the most
famous bunraku play. Based on the true story of the 47 ronin (masterless samurai) incident of 1701-1703, it was first
staged 47 years later in 1748. After drawing his sword in the Edo castle in response to insults by the Tokugawa
shogun's chief of protocol (Kira Yoshinaka), the feudal lord Asano Naganori was forced to commit suicide and his clan
was disbanded. The 47 loyal retainers carefully plotted and carried out their revenge by killing Kira nearly two years
later. Even though many years had elapsed since the incident, playwrights still changed the time, location, and character
names in order to avoid offending the Tokugawa shogun. This popular play was soon adapted to the kabuki stage and continues to be an important part of both repertoires.
Throughout the eighteenth century, bunraku developed in both a competitive and cooperative relationship with kabuki.
At the individual role level, kabuki actors imitated the distinctive movements of bunraku puppets and the chanting style
of the tayu, while puppeteers adapted the stylistic flourishes of famous kabuki actors to their own performances.
At the play level, many bunraku works, especially those of Chikamatsu, were adapted for kabuki, while lavish kabuki-style
productions were staged as bunraku. Gradually eclipsed in popularity by kabuki, from the late 18th century bunraku went
into commercial decline and theaters closed one by one until only the Bunraku-za was left. Since World War II,
bunraku has had to depend on government support for its survival, although its popularity has been increasing in recent
years. Under the auspices of the Bunraku Association, regular performances are held today at the National Theater
in Tokyo and the National Bunraku Theater in Osaka. Bunraku performance tours have been enthusiastically received
in cities around the world.
staged 47 years later in 1748. After drawing his sword in the Edo castle in response to insults by the Tokugawa
shogun's chief of protocol (Kira Yoshinaka), the feudal lord Asano Naganori was forced to commit suicide and his clan
was disbanded. The 47 loyal retainers carefully plotted and carried out their revenge by killing Kira nearly two years
later. Even though many years had elapsed since the incident, playwrights still changed the time, location, and character
names in order to avoid offending the Tokugawa shogun. This popular play was soon adapted to the kabuki stage and continues to be an important part of both repertoires.
Throughout the eighteenth century, bunraku developed in both a competitive and cooperative relationship with kabuki.
At the individual role level, kabuki actors imitated the distinctive movements of bunraku puppets and the chanting style
of the tayu, while puppeteers adapted the stylistic flourishes of famous kabuki actors to their own performances.
At the play level, many bunraku works, especially those of Chikamatsu, were adapted for kabuki, while lavish kabuki-style
productions were staged as bunraku. Gradually eclipsed in popularity by kabuki, from the late 18th century bunraku went
into commercial decline and theaters closed one by one until only the Bunraku-za was left. Since World War II,
bunraku has had to depend on government support for its survival, although its popularity has been increasing in recent
years. Under the auspices of the Bunraku Association, regular performances are held today at the National Theater
in Tokyo and the National Bunraku Theater in Osaka. Bunraku performance tours have been enthusiastically received
in cities around the world.
One-half to two-thirds life-size, bunraku puppets are assembled from several components: wooden head, shoulder board,
trunk, arms, legs, and costume. The head has a grip with control strings to move the eyes, mouth, and eyebrows.
This grip is inserted into a hole in the center of the shoulder board. Arms and legs are hung from the shoulder board
with strings, and the costume fits over the shoulder board and trunk, from which a bamboo hoop is hung to form the hips.
Female puppets often have immovable faces, and, since their long kimono completely cover the lower half of their bodies,
most do not need to have legs.There are about seventy different puppet heads in use. Classified into various categories,
such as young unmarried woman or young man of great strength, each head is usually used for a number of different
characters, although they are often referred to by the name of the role in which they first appeared.The omozukai
(principal operator) inserts his left hand through an opening in the back of the costume and holds the head grip.
With his right hand he moves the puppet's right arm. Holding a large warrior puppet can be an exercise in endurance since
they weigh up to twenty kilograms. The left arm is operated by the hidarizukai (first assistant), and the legs are
operated by the ashizukai (second assistant), who also stamps his feet for sound effects and to punctuate the shamisen
rhythm. For female puppets, the ashizukai manipulates the lower part of the kimono to simulate leg movement.
trunk, arms, legs, and costume. The head has a grip with control strings to move the eyes, mouth, and eyebrows.
This grip is inserted into a hole in the center of the shoulder board. Arms and legs are hung from the shoulder board
with strings, and the costume fits over the shoulder board and trunk, from which a bamboo hoop is hung to form the hips.
Female puppets often have immovable faces, and, since their long kimono completely cover the lower half of their bodies,
most do not need to have legs.There are about seventy different puppet heads in use. Classified into various categories,
such as young unmarried woman or young man of great strength, each head is usually used for a number of different
characters, although they are often referred to by the name of the role in which they first appeared.The omozukai
(principal operator) inserts his left hand through an opening in the back of the costume and holds the head grip.
With his right hand he moves the puppet's right arm. Holding a large warrior puppet can be an exercise in endurance since
they weigh up to twenty kilograms. The left arm is operated by the hidarizukai (first assistant), and the legs are
operated by the ashizukai (second assistant), who also stamps his feet for sound effects and to punctuate the shamisen
rhythm. For female puppets, the ashizukai manipulates the lower part of the kimono to simulate leg movement.
In Chikamatsu's day, puppets were operated by one person; the three-man puppet was not introduced until 1734.
Originally this single operator was not seen on stage, but for The Love Suicides at Sonezaki, master puppeteer
Tatsumatsu Hachirobei became the first to work in full view of the audience.Today all three puppeteers are out on stage
in full view. The operators usually wear black suits and hoods that make them symbolically invisible. A celebrity
in the bunraku world, the principal operator often works without the black hood and in some cases even wears a brilliant
white silk robe.Like the puppeteers, the tayu and the shamisen player were originally hidden from the audience but,
in a new play in 1705, Takemoto Gidayu chanted in full view of the audience, and in 1715 both the tayu and shamisen
player began performing on a special elevated platform at the right of the stage, where they appear today. The tayu
has traditionally had the highest status in a bunraku troupe. As narrator, he creates the atmosphere of the play, and
he must voice all parts, from a rough bass for men to a high falsetto for women and children.The shamisen player does not
merely accompany the tayu. Since the puppeteers, tayu, and shamisen player do not watch each other during the performance,
it is up to the shamisen player to set the pace of the play with his rhythmic strumming. In some large-scale bunraku plays
and extravaganzas adapted from kabuki, multiple tayu-shamisen pairs and shamisen ensembles are used.
Originally this single operator was not seen on stage, but for The Love Suicides at Sonezaki, master puppeteer
Tatsumatsu Hachirobei became the first to work in full view of the audience.Today all three puppeteers are out on stage
in full view. The operators usually wear black suits and hoods that make them symbolically invisible. A celebrity
in the bunraku world, the principal operator often works without the black hood and in some cases even wears a brilliant
white silk robe.Like the puppeteers, the tayu and the shamisen player were originally hidden from the audience but,
in a new play in 1705, Takemoto Gidayu chanted in full view of the audience, and in 1715 both the tayu and shamisen
player began performing on a special elevated platform at the right of the stage, where they appear today. The tayu
has traditionally had the highest status in a bunraku troupe. As narrator, he creates the atmosphere of the play, and
he must voice all parts, from a rough bass for men to a high falsetto for women and children.The shamisen player does not
merely accompany the tayu. Since the puppeteers, tayu, and shamisen player do not watch each other during the performance,
it is up to the shamisen player to set the pace of the play with his rhythmic strumming. In some large-scale bunraku plays
and extravaganzas adapted from kabuki, multiple tayu-shamisen pairs and shamisen ensembles are used.
Bunraku puppets History of Bunraku//Puppets and Performance//A Bunraku Play: Sonezaki shinju (The Love Suicides at Sonezaki)
BUNRAKUPuppet theater brings old Japan to lifeBunraku is Japan's professional puppet theater. Developed primarily
in the 17th and 18th centuries, it is one of the four forms of Japanese classical theater, the others being kabuki, noh,
and kyogen. The term bunraku comes from Bunraku-za, the name of the only commercial bunraku theater to survive into
the modern era. Bunraku is also called ningyo joruri, a name that points to its origins and essence. Ningyo means "doll"
or "puppet," and joruri is the name of a style of dramatic narrative chanting accompanied by the three-stringed shamisen.
Together with kabuki, bunraku developed as part of the vibrant merchant culture of the Edo period (1600-1868).
Despite the use of puppets, it is not a children's theater. Many of its most famous plays were written by Japan's greatest
dramatist, Chikamatsu Monzaemon (1653-1724), and the great skill of the operators make the puppet characters and their
stories come alive on stage.History of BunrakuPuppets and Performance//A Bunraku Play: Sonezaki shinju (The Love Suicides
at Sonezaki) Already in the Heian period (794-1185), itinerant puppeteers known as kugutsumawashi traveled around Japan
playing door-to-door for donations. In this form of street entertainment, which continued up through the Edo period,
the puppeteer manipulated two hand puppets on a stage that consisted of a box suspended from his neck. A number
of the kugutsumawashi are thought to have settled at Nishinomiya and on the island of Awaji, both near present-day Kobe.
BUNRAKUPuppet theater brings old Japan to lifeBunraku is Japan's professional puppet theater. Developed primarily
in the 17th and 18th centuries, it is one of the four forms of Japanese classical theater, the others being kabuki, noh,
and kyogen. The term bunraku comes from Bunraku-za, the name of the only commercial bunraku theater to survive into
the modern era. Bunraku is also called ningyo joruri, a name that points to its origins and essence. Ningyo means "doll"
or "puppet," and joruri is the name of a style of dramatic narrative chanting accompanied by the three-stringed shamisen.
Together with kabuki, bunraku developed as part of the vibrant merchant culture of the Edo period (1600-1868).
Despite the use of puppets, it is not a children's theater. Many of its most famous plays were written by Japan's greatest
dramatist, Chikamatsu Monzaemon (1653-1724), and the great skill of the operators make the puppet characters and their
stories come alive on stage.History of BunrakuPuppets and Performance//A Bunraku Play: Sonezaki shinju (The Love Suicides
at Sonezaki) Already in the Heian period (794-1185), itinerant puppeteers known as kugutsumawashi traveled around Japan
playing door-to-door for donations. In this form of street entertainment, which continued up through the Edo period,
the puppeteer manipulated two hand puppets on a stage that consisted of a box suspended from his neck. A number
of the kugutsumawashi are thought to have settled at Nishinomiya and on the island of Awaji, both near present-day Kobe.
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Scene I: Making the rounds of his customers, Tokubei, clerk at a soy sauce dealer, meets his beloved, the courtesan Ohatsu,
by chance at Ikutama Shrine in Osaka. Weeping, she criticizes him for neglecting to write or visit. Tokubei explains
that he has had some problems, and at her urging he tells the whole story.
Tokubei's uncle, the owner of the soy sauce business, had asked him to marry his wife's niece, but Tokubei refused because
of his love for Ohatsu. However, Tokubei's stepmother agreed to the marriage behind his back and took the large dowry
with her to the country. When Tokubei again refused the marriage, his angry uncle demanded the return of the dowry money.
After finally managing to get the money from his stepmother, Tokubei lent it to his good friend Kuheiji, who is late paying it back.
Just then a drunken Kuheiji arrives at the shrine with a couple of friends. When Tokubei urges him to return the money,
Kuheiji denies borrowing it, and he and his friends beat up Tokubei.
by chance at Ikutama Shrine in Osaka. Weeping, she criticizes him for neglecting to write or visit. Tokubei explains
that he has had some problems, and at her urging he tells the whole story.
Tokubei's uncle, the owner of the soy sauce business, had asked him to marry his wife's niece, but Tokubei refused because
of his love for Ohatsu. However, Tokubei's stepmother agreed to the marriage behind his back and took the large dowry
with her to the country. When Tokubei again refused the marriage, his angry uncle demanded the return of the dowry money.
After finally managing to get the money from his stepmother, Tokubei lent it to his good friend Kuheiji, who is late paying it back.
Just then a drunken Kuheiji arrives at the shrine with a couple of friends. When Tokubei urges him to return the money,
Kuheiji denies borrowing it, and he and his friends beat up Tokubei.
When Kuheiji has gone, Tokubei proclaims his innocence to bystanders and hints that he will make amends by killing himself.
Scene 2: It is the evening of the same day and Ohatsu is back at Temma House, the brothel where she works. Still distraught
at what has happened, she slips outside after catching a glimpse of Tokubei. They weep and he tells her that the only option left for him is suicide.
Ohatsu helps Tokubei hide under the porch on which she sits, and soon Kuheiji and his friends arrive. Kuheiji continues to proclaim
Tokubei's guilt, but Ohatsu says she knows he is innocent. Then, as if talking to herself, she asks if Tokubei is resolved to die. Unseen by the others,
he answers by drawing her foot across his neck. (Since female puppets do not have legs, a specially made foot is used for this scene.)
Kuheiji says that if Tokubei kills himself he will take care of Ohatsu, but she rebukes him, calling him a thief and a liar. She says she is sure that
Tokubei intends to die with her as she does with him. Overwhelmed by her love, Tokubei responds by touching her foot to his forehead.
Once Kuheiji has left and the house is quiet, Ohatsu manages to slip out.
Scene 3: On their journey to Sonezaki Wood, Tokubei and Ohatsu speak of their love, and a lyrical passage
spoken by the narrator comments on the transience of life. Hearing revelers in a roadside teahouse singing about an earlier
love suicide, Tokubei wonders if he and Ohatsu will be the subject of such songs. After reaching Sonezaki Wood, Ohatsu cuts her sash.
and they use it to bind themselves together so they will be beautiful in death. Tokubei apologizes to his uncle, and Ohatsu to her parents,
for the trouble they are causing. Chanting an invocation to Amida Buddha, he stabs her and then himself.
Scene 2: It is the evening of the same day and Ohatsu is back at Temma House, the brothel where she works. Still distraught
at what has happened, she slips outside after catching a glimpse of Tokubei. They weep and he tells her that the only option left for him is suicide.
Ohatsu helps Tokubei hide under the porch on which she sits, and soon Kuheiji and his friends arrive. Kuheiji continues to proclaim
Tokubei's guilt, but Ohatsu says she knows he is innocent. Then, as if talking to herself, she asks if Tokubei is resolved to die. Unseen by the others,
he answers by drawing her foot across his neck. (Since female puppets do not have legs, a specially made foot is used for this scene.)
Kuheiji says that if Tokubei kills himself he will take care of Ohatsu, but she rebukes him, calling him a thief and a liar. She says she is sure that
Tokubei intends to die with her as she does with him. Overwhelmed by her love, Tokubei responds by touching her foot to his forehead.
Once Kuheiji has left and the house is quiet, Ohatsu manages to slip out.
Scene 3: On their journey to Sonezaki Wood, Tokubei and Ohatsu speak of their love, and a lyrical passage
spoken by the narrator comments on the transience of life. Hearing revelers in a roadside teahouse singing about an earlier
love suicide, Tokubei wonders if he and Ohatsu will be the subject of such songs. After reaching Sonezaki Wood, Ohatsu cuts her sash.
and they use it to bind themselves together so they will be beautiful in death. Tokubei apologizes to his uncle, and Ohatsu to her parents,
for the trouble they are causing. Chanting an invocation to Amida Buddha, he stabs her and then himself.
>関係者の他愛ない書き込みと違って悪質だよ
だから全員関係者なんだって。バカかてめえ。
むかしっからヤ９３さんと芸人は切っても切れない縁で結ばれてるのさ。
分裂の時代だって８９３がらみの興行あったろうが。
だから全員関係者なんだって。バカかてめえ。
むかしっからヤ９３さんと芸人は切っても切れない縁で結ばれてるのさ。
分裂の時代だって８９３がらみの興行あったろうが。
暴露に悪口
流言、ゴシップ、噂話。
どうしようもないな。
これ書いてる馬鹿もその実、文楽ファンです！とか言って
公演見に行ったり、芸人と親しくしたりしてるんだろ？
得意になって吉牛コピペ作って悦にいってたり・・
情けない奴だ！そんなにいやなら見に行くな！！
こんなマイナー芸能。
ああ、何でも知ってらっしゃる あ な た 偉いよ！！
特別だね。
内情に通じてる あ な た！
関係者の他愛のない落書きと違って悪質だよあんた！！
嬉しいだろ？？ええっ？皆このスレ覗いてくれてるよ！
きっと楽屋でも話題になってるよ！
嬉しいだろ？？何でもご存知の あ な た！！
暴露話があまりにも当たっているので切れている犯人登場
流言、ゴシップ、噂話。
どうしようもないな。
これ書いてる馬鹿もその実、文楽ファンです！とか言って
公演見に行ったり、芸人と親しくしたりしてるんだろ？
得意になって吉牛コピペ作って悦にいってたり・・
情けない奴だ！そんなにいやなら見に行くな！！
こんなマイナー芸能。
ああ、何でも知ってらっしゃる あ な た 偉いよ！！
特別だね。
内情に通じてる あ な た！
関係者の他愛のない落書きと違って悪質だよあんた！！
嬉しいだろ？？ええっ？皆このスレ覗いてくれてるよ！
きっと楽屋でも話題になってるよ！
嬉しいだろ？？何でもご存知の あ な た！！
暴露話があまりにも当たっているので切れている犯人登場
>芸人と親しくしたりしてるんだろ？
してねえよそんな８９３あがり
>関係者の他愛のない落書きと違って悪質だよあんた！！
落書きだって悪質だと思いますが何か？
>得意になって吉牛
こんな戯言で得意になってるようだったらちんぽ芸人以下だなこりゃ
自称関係者が切れてんじゃねーよ。
早く目を覚ませ。お前なんかうざがられてるだけだっての。
応援団気取ってるつもりか？
所詮盛り上がらない自慰行為芸能、奴らの興味なんか金にしかないのにね。
嘘だと思ってんならその目で確かめろ屋。
自称関係者さんよ
してねえよそんな８９３あがり
>関係者の他愛のない落書きと違って悪質だよあんた！！
落書きだって悪質だと思いますが何か？
>得意になって吉牛
こんな戯言で得意になってるようだったらちんぽ芸人以下だなこりゃ
自称関係者が切れてんじゃねーよ。
早く目を覚ませ。お前なんかうざがられてるだけだっての。
応援団気取ってるつもりか？
所詮盛り上がらない自慰行為芸能、奴らの興味なんか金にしかないのにね。
嘘だと思ってんならその目で確かめろ屋。
自称関係者さんよ
だいたいイニシャルで誰のことかなんかまともにわかんねーのに、
いちいち怒ってる所がヲチしてる＆ネタが小当たりな証拠。
きっとこいつが怒っているのは離婚オッズのあたりであろう。
いちいち怒ってる所がヲチしてる＆ネタが小当たりな証拠。
きっとこいつが怒っているのは離婚オッズのあたりであろう。
まあ犯人はＴ個だから許してやれよ
>関係者の他愛のない落書き
それこそが暴露話なんだが
それこそが暴露話なんだが
まあバカの公演なんてどうせ３年もすりゃ閑古鳥が鳴くんだし
ほっとけばいいと思われ
ほっとけばいいと思われ
って有価完売の公演なんて８９３がチケットさばいてるんだけどね
当日ドタ多いから別に完売とか煽られたって見に行けば席あいてるし。
一度８９３に助けてもらったら後々恩売られて大変なことになるのに…
しきたりを知らなかったようだね～おなごが家いる人は気をつけないと。
当日ドタ多いから別に完売とか煽られたって見に行けば席あいてるし。
一度８９３に助けてもらったら後々恩売られて大変なことになるのに…
しきたりを知らなかったようだね～おなごが家いる人は気をつけないと。
暴露・ゴシップで切れてる香具師＞Ｈ谷
だっておされな街講部は焼く座の街講部だＭＯＮ
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188 ：重要無名文化財 ：03/01/19 22:21
このスレッドは1000を超えたのでもう書き込めません。
新しいスレッドも立てないで下さい。
------------------終了------------------
このスレッドは1000を超えたのでもう書き込めません。
新しいスレッドも立てないで下さい。
------------------終了------------------
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ハア―イッ！皆さんおはようございまーす！(夜中でもね！）
関係者でーーーすゥ！
みなさんの愛の溢れるカキコ拝見しました。
特に吉牛コピペの作者さーん！！す て き！！
何のかんのいいながら、いろんなマイナーなイヴェント
来ていただいてるようですね。
口語ブンラクとか湯布院とか康楽館とか若手会とか・・諸々。
来た人しかわからない情報が満載ですもの。
本当にブンラクお好きなんですね！
ありがとうございまーす！
そんなをヲナゴのあなたを私たち「もう離さないよ！！」←大映映画口調で・・
また来てねっ！
まいど。
あぼーん
義太夫の事なら◎村翁に尋ねなさい。
あるいは元Ｎ◎ＫのＴ木氏な教わるとよい。
現在の日本において義太夫のオンについて聞き分ける力のあるのは
文楽のプロを除いて以上の二名以外存在はしない。
亡き四世Ｋ路大夫師の追悼番組で師と対談されていたのが
◎村翁である。
翁に教わる機会がなければＴ木氏の出版された数多くの書籍を
拝読されたい。
Ｔ木氏以外の書いた最近の文楽義太夫書籍は間違いだらけだから
すべて排除されたい。
あるいは元Ｎ◎ＫのＴ木氏な教わるとよい。
現在の日本において義太夫のオンについて聞き分ける力のあるのは
文楽のプロを除いて以上の二名以外存在はしない。
亡き四世Ｋ路大夫師の追悼番組で師と対談されていたのが
◎村翁である。
翁に教わる機会がなければＴ木氏の出版された数多くの書籍を
拝読されたい。
Ｔ木氏以外の書いた最近の文楽義太夫書籍は間違いだらけだから
すべて排除されたい。
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