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[[image:Osonowiki.jpg|thumb|right|300px|The Bunraku character Osono, from the play "Sakaya" (酒屋 The ''Sake'' Dealer), with the black-clad puppeteers just visible on either side]]

|pic=Osonowiki.jpg

'''Bunraku''' (<font size=3>文楽</font>) is the traditional puppet theater of [[Japan]]. However, it only assumed the name ''Bunraku'' towards the end of the Meiji era. Prior to that it was known as ''ningyō jōruri'' (<font size=3>人形浄瑠璃</font> "puppet narrative drama") or ''ayatsuri jōruri shibai'' (<font size=3>操り浄瑠璃芝居</font> "puppet drama plays"). The name "Bunraku" is taken from the theater  in which this puppet drama was performed, but gradually it came to be used as the name of the art itself and is today used as the official name of the puppet theater.

|piccap=The bunraku character Osono, from the play "Sakaya" (酒屋 The ''Sake'' Dealer), with the black-clad puppeteers just visible on either side

|kanji=文楽

|romaji=bunraku

''Jōruri'' also refers to a form of ''shamisen'' (<font size=3>三味線</font> "three-stringed guitar") music, and the name reflects that the puppet plays are performed to a ''jōruri'' accompaniment. It is the combination of its high-quality artistic technique, the high level of its ''jōruri'' music and the unique nature of manipulating the puppets (each puppet requires three puppeteers to bring it to life), that have led to Bunraku's world renown.

'''Bunraku''' is the traditional puppet theater of [[Japan]]. However, it only assumed the name ''bunraku'' towards the end of the Meiji era. Prior to that it was known as ''ningyō jōruri'' (<font size=3>人形浄瑠璃</font> "puppet narrative drama") or ''ayatsuri jōruri shibai'' (<font size=3>操り浄瑠璃芝居</font> "puppet drama plays"). The name "bunraku" is taken from the theater  in which this puppet drama was performed, but gradually it came to be used as the name of the art itself and is today used as the official name of the puppet theater.  

Two things differentiate Bunraku from other forms of puppet theaters around the world. The first is the duration of each play. Whilst most puppet theaters portray simple stories such as myths and legends, only Bunraku requires an entire day for its long, serious drama to play out.  

''Jōruri'' also refers to a form of ''shamisen'' (<font size=3>三味線</font> "three-stringed guitar") music, and the name reflects that the puppet plays are performed to a ''jōruri'' accompaniment. It is the combination of its high-quality artistic technique, the high level of its ''jōruri'' music and the unique nature of manipulating the puppets (each puppet requires three puppeteers to bring it to life), that have led to bunraku's world renown.

Secondly, in most of the world's puppet theaters, great pains are taken to hide the manipulation of the puppeteers from the audience. This is done by either suspending the puppet from strings attached to the ceiling, as with marionettes, or placing a hand within the puppet and moving it with the fingers, as with ''guignol'' puppets; or by casting shadows upon a screen, as with the ''wayan kulit'' shadow puppets. In Bunraku, however, the puppet's manipulators appear openly, in full view of the audience.  

Two things differentiate bunraku from other forms of puppet theaters around the world. The first is the duration of each play. Whilst most puppet theaters portray simple stories such as myths and legends, only bunraku requires an entire day for its long, serious drama to play out.  

In 2003, Bunraku was added to [[United Nations Educational, Scientific and Cultural Organization|UNESCO's]] Intangible Cultural Heritage list as a "Masterpiece of the Oral and Intangible Heritage of Humanity".

Secondly, in most of the world's puppet theaters, great pains are taken to hide the manipulation of the puppeteers from the audience. This is done by either suspending the puppet from strings attached to the ceiling, as with marionettes, or placing a hand within the puppet and moving it with the fingers, as with ''guignol'' puppets; or by casting shadows upon a screen, as with the ''wayan kulit'' shadow puppets. In bunraku, however, the puppet's manipulators appear openly, in full view of the audience.  

==History of Bunraku==

In 2003, bunraku was added to [[United Nations Educational, Scientific and Cultural Organization|UNESCO's]] Intangible Cultural Heritage list as a "Masterpiece of the Oral and Intangible Heritage of Humanity".

The roots of is today known as Bunraku lie in ''jōruri'' (<font size=3>浄瑠璃</font> "ballad drama") and ''jōruri gidayu-bushi'' (<font size=3>浄瑠璃義太夫</font> "''jōruri'' narrative singing"). The latter was created by Takemoto Gidayu (1651 - 1724), and is a distinct form of vocal music.  

 

The roots of is today known as bunraku lie in ''jōruri'' (<font size=3>浄瑠璃</font> "ballad drama") and ''jōruri gidayu-bushi'' (<font size=3>浄瑠璃義太夫</font> "''jōruri'' narrative singing"). The latter was created by Takemoto Gidayu (1651 - 1724), and is a distinct form of vocal music.  

Vocal music has been divided into two categories in Japan, dating back to ancient times, namely ''Utai'' (<font size=3>謡</font> "chanting or singing") and ''katari'' (<font size=3>語り</font> "reciting"). The biggest difference between the two is that ''utai'' contained definite melodies, rhythms, and a tempo, whereas the main emphasis of ''katari'' was on explaining the plot. ''Katari'' itself  originated from the tale-chanting style of ''heikyoku'' (<font size=3>京華曲</font>), which was used to relate historical dramas from the ''Heika'' , to the accompaniment of a ''biwa'' (<font size=3>琵琶</font> "a lute-like instrument").  

Vocal music has been divided into two categories in Japan, dating back to ancient times, namely ''Utai'' (<font size=3>謡</font> "chanting or singing") and ''katari'' (<font size=3>語り</font> "reciting"). The biggest difference between the two is that ''utai'' contained definite melodies, rhythms, and a tempo, whereas the main emphasis of ''katari'' was on explaining the plot. ''Katari'' itself  originated from the tale-chanting style of ''heikyoku'' (<font size=3>京華曲</font>), which was used to relate historical dramas from the ''Heika'' , to the accompaniment of a ''biwa'' (<font size=3>琵琶</font> "a lute-like instrument").  

However, the popularity of the puppet theater began to wane in the latter half of the eighteenth century, and both the Takemoto-za and the Toyotake-za went bankrupt. Puppet theater performances returned to the precincts of shrines and temples, as well as in vaudeville-like entertainment halls (<font size=3>寄席</font> ''yose''), and gradually a number of master performers reappeared who took the art left to them and refined it through great effort.   

However, the popularity of the puppet theater began to wane in the latter half of the eighteenth century, and both the Takemoto-za and the Toyotake-za went bankrupt. Puppet theater performances returned to the precincts of shrines and temples, as well as in vaudeville-like entertainment halls (<font size=3>寄席</font> ''yose''), and gradually a number of master performers reappeared who took the art left to them and refined it through great effort.   

After the collapse of both the Takemoto-za and the Toyotake-za puppet theaters, a small ''jōruri'' hall was opened near Kozu Bridge in Ōsaka, and in 1811 it found itself within the precincts of the Inari Shrine. The proprietor was a man named Uemura Bunrakuken, and it was in 1872, after it was relocated to Matsushima, that the hall became officially known as the Bunraku-za, after its owner.

After the collapse of both the Takemoto-za and the Toyotake-za puppet theaters, a small ''jōruri'' hall was opened near Kozu Bridge in Ōsaka, and in 1811 it found itself within the precincts of the Inari Shrine. The proprietor was a man named Uemura Bunrakuken, and it was in 1872, after it was relocated to Matsushima, that the hall became officially known as the bunraku-za, after its owner.

 

 

Shortly thereafter, the Hikoroku-za was founded within the precincts of the Inari Shrine in 1884, and it became a rival of the Bunraku-za, which had since moved to Ōsaka's Goryo area. Just as in the days of Toyotake-za and Takemoto-za, puppet theater once again became popular. Although the Hikoroku-za was closed in 1893, the Goryo Bunraku-za prospered as the main representative of puppet theater, with the name of the theater, being transferred to the art itself, which came to be called "Bunraku".

Shortly thereafter, the Hikoroku-za was founded within the precincts of the Inari Shrine in 1884, and it became a rival of the bunraku-za, which had since moved to Ōsaka's Goryo area. Just as in the days of Toyotake-za and Takemoto-za, puppet theater once again became popular. Although the Hikoroku-za was closed in 1893, the Goryo bunraku-za prospered as the main representative of puppet theater, with the name of the theater, being transferred to the art itself, which came to be called "bunraku".

The Goryo Bunraku-za burned to the ground in 1926, and its successor, a new Bunraku-za, was built near Yotsubashi in 1930. At the end of World War II, of all the theaters to be rebuilt from the ashes of the air raids, the very first was the Yotsubashi Bunraku-za. This was because Bunraku was not only seen as a famous product of Ōsaka, but also a traditional performing art that had to be preserved.  

The Goryo Bunraku-za burned to the ground in 1926, and its successor, a new bunraku-za, was built near Yotsubashi in 1930. At the end of World War II, of all the theaters to be rebuilt from the ashes of the air raids, the very first was the Yotsubashi Bunraku-za. This was because bunraku was not only seen as a famous product of Ōsaka, but also a traditional performing art that had to be preserved.  

In 1955, the Japanese government recognized the art of Bunraku as an "Important Intangible Cultural Property (<font size=3>重要無形文化財</font> ''jūyō mukei bunkazai''). In 1963, the Bunraku Association was formed, and following the completion of Japan's first National Theater in 1966, Bunraku performances in Tōkyō were planned and produced by the National Theatre.  

In 1955, the Japanese government recognized the art of bunraku as an "Important Intangible Cultural Property (<font size=3>重要無形文化財</font> ''jūyō mukei bunkazai''). In 1963, the Bunraku Association was formed, and following the completion of Japan's first National Theater in 1966, bunraku performances in Tokyo were planned and produced by the National Theatre.  

The National Theater's policy of performing full plays evoked the interest of the youth, which was instrumental in developing a new generation of audiences. Further, due to the efforts of the Bunraku Association, both the city and the prefecture of Ōsaka, and the Kansai Economic Association, it was planned to build a National Bunraku Theater in the land of its birth, Ōsaka and the National Bunraku Theater was founded in 1984.  

The National Theater's policy of performing full plays evoked the interest of the youth, which was instrumental in developing a new generation of audiences. Further, due to the efforts of the Bunraku Association, both the city and the prefecture of Ōsaka, and the Kansai Economic Association, it was planned to build a National Bunraku Theater in the land of its birth, Ōsaka and the National Bunraku Theater was founded in 1984.  

==The Chanter==

==The chanter==

Bunraku plays develop through the chanting of ''gidayu-bushi'', and it is their mission is to fill an otherwise expressionless doll made of wood, with the illusion life through the ''gidayu-bushi''. The chanter (<font size=3>太夫</font> ''tayu'') not only recites the dialogue for all the characters, but also relates the spectacle of the scene and explains the background behind the event taking place. Long pieces last for about 90 minutes, and the number of characters can vary from only a few to around fifteen. The chanter performs them all, both young and old, male and female, warriors and townspeople, in various ways appropriate for each character, all by himself.  

Bunraku plays develop through the chanting of ''gidayu-bushi'', and it is their mission is to fill an otherwise expressionless doll made of wood, with the illusion life through the ''gidayu-bushi''. The chanter (<font size=3>太夫</font> ''tayu'') not only recites the dialogue for all the characters, but also relates the spectacle of the scene and explains the background behind the event taking place. Long pieces last for about 90 minutes, and the number of characters can vary from only a few to around fifteen. The chanter performs them all, both young and old, male and female, warriors and townspeople, in various ways appropriate for each character, all by himself.  

In order accommodate the left-hand puppeteer's position, the head puppeteer wears special footwear known as "stage clogs" or "elevated clogs". A large doll can be as tall as 1.5 meters, whilst a smaller one is normally about 1.3 meters tall, so the height of the elevated clogs varies between 20 to 50 centimeters, depending on the size of the doll.  

In order accommodate the left-hand puppeteer's position, the head puppeteer wears special footwear known as "stage clogs" or "elevated clogs". A large doll can be as tall as 1.5 meters, whilst a smaller one is normally about 1.3 meters tall, so the height of the elevated clogs varies between 20 to 50 centimeters, depending on the size of the doll.  

In the case of a doll operated by three puppeteers, the puppet appears on the stage with all three operators in plain view of the audience, which could obstruct the viewing of the play. Therefore, they wear ''kurogo'' (<font size=3>黒巾</font> "black robes"). The puppeteers are dressed in black robes and head coverings. However, this is not necessarily so they blend into the background, but because originally, the color black signified "nothingness". Thus, Bunraku adopted this concept of "nothing" and started employing black-robed operators, which indicates that they cannot be seen, as there is "nothing" there to see.  

In the case of a doll operated by three puppeteers, the puppet appears on the stage with all three operators in plain view of the audience, which could obstruct the viewing of the play. Therefore, they wear ''kurogo'' (<font size=3>黒巾</font> "black robes"). The puppeteers are dressed in black robes and head coverings. However, this is not necessarily so they blend into the background, but because originally, the color black signified "nothingness". Thus, bunraku adopted this concept of "nothing" and started employing black-robed operators, which indicates that they cannot be seen, as there is "nothing" there to see.  

However, a situation arose when the manipulation of the puppet was extremely masterful and perfect, the audience wanted to see who was operating the doll. This led to the concept of ''de-tsukai'' - an operator who is visible to the audience, usually by having only his face uncovered.  

However, a situation arose when the manipulation of the puppet was extremely masterful and perfect, the audience wanted to see who was operating the doll. This led to the concept of ''de-tsukai'' - an operator who is visible to the audience, usually by having only his face uncovered.  

The three puppeteers must all become one with the doll in order to manipulate it, and they must also become one with, and work together with, the chanter and the shamisen player. It is this phenomenal co-operation that makes the Bunraku so special, as the beautiful puppets move about freely like humans and look like they are alive.

The three puppeteers must all become one with the doll in order to manipulate it, and they must also become one with, and work together with, the chanter and the shamisen player. It is this phenomenal co-operation that makes the bunraku so special, as the beautiful puppets move about freely like humans and look like they are alive.

==Heads and Wigs==

==Heads and wigs==

The heads (<font size=3>頭</font> ''kashira'') of Bunraku puppets are divided into male and female, and then further classified into various categories depending on age, social class, and the distinguishing personality traits of the role they portray, and each head has its own name, reflecting their special characteristics. The same head might be used for different characters in different plays, if the characters have the same characteristics or personality. Sometimes, in order better match the character, they may be repainted to give the right skin tone, or have a new wig attached. The heads are the responsibility of the "head master" (<font size=3>頭担当</font> ''kashira tanto''), who prepares,maintains and repaints them before each performance.  

The heads (<font size=3>頭</font> ''kashira'') of bunraku puppets are divided into male and female, and then further classified into various categories depending on age, social class, and the distinguishing personality traits of the role they portray, and each head has its own name, reflecting their special characteristics. The same head might be used for different characters in different plays, if the characters have the same characteristics or personality. Sometimes, in order better match the character, they may be repainted to give the right skin tone, or have a new wig attached. The heads are the responsibility of the "head master" (<font size=3>頭担当</font> ''kashira tanto''), who prepares,maintains and repaints them before each performance.  

The movement of the eyes, eyebrows, and mouth of each puppet's head is controlled by the main puppeteer, who manipulates, with the fingers of his left hand, the levers attached to the ''dogushi'' stick in the doll's neck. In addition, there is a special lever that is attached to the head with ''shamisen'' strings, which allows the puppet's head to nod up and down in time to the ''shamisen'' music. This movement also relies upon a special construction called the ''bane'' (<font size=3>弾機</font> "spring"), which is made out of baleen.

The movement of the eyes, eyebrows, and mouth of each puppet's head is controlled by the main puppeteer, who manipulates, with the fingers of his left hand, the levers attached to the ''dogushi'' stick in the doll's neck. In addition, there is a special lever that is attached to the head with ''shamisen'' strings, which allows the puppet's head to nod up and down in time to the ''shamisen'' music. This movement also relies upon a special construction called the ''bane'' (<font size=3>弾機</font> "spring"), which is made out of baleen.

There are a number of fundamental styles of Bunraku wigs, depending upon the type of character being portrayed. It is the job of the "wig masters" (<font size=3>床山</font> ''tokoyama''), to sew and create an appropriate hairstyle (<font size=3>結髪</font> ''keppatsu'') for every role, based around the fundamental styles. The ''tokoyama'' does not just style the wigs, but also makes them by threading hair through copper plates. Human hair is used most of the time, but occasionally, in order to create the illusion of volume, the hair of a yak's tail is also used. The finished wig is then carefully attached to the head. When creating a special hairstyle, no oil can be used, in order to prevent it running and soiling the face, so the styling is done using only water and beeswax (<font size=3>鬢付け</font> ''bintsuke'').

There are a number of fundamental styles of bunraku wigs, depending upon the type of character being portrayed. It is the job of the "wig masters" (<font size=3>床山</font> ''tokoyama''), to sew and create an appropriate hairstyle (<font size=3>結髪</font> ''keppatsu'') for every role, based around the fundamental styles. The ''tokoyama'' does not just style the wigs, but also makes them by threading hair through copper plates. Human hair is used most of the time, but occasionally, in order to create the illusion of volume, the hair of a yak's tail is also used. The finished wig is then carefully attached to the head. When creating a special hairstyle, no oil can be used, in order to prevent it running and soiling the face, so the styling is done using only water and beeswax (<font size=3>鬢付け</font> ''bintsuke'').

==Also see==

==Also see==

==Bibliography==

==Bibliography==

* Ronald Cavaye, Paul Griffith, Senda Akihiko, A guide to the Japanese Stage, Kōdansha, 2004  

* Ronald Cavaye, Paul Griffith, ''Senda Akihiko, A guide to the Japanese Stage'', Kōdansha, 2004  

* Keene, D, No and Bunraku, Columbia University Press, 1999,

* Keene, D, ''No and Bunraku'', Columbia University Press, 1999.

* Brazell, K (ed), Traditional Japanese Theater , Columbia University Press, 1999, ISBN-13: 978-0231108737

* Brazell, K (ed), ''Traditional Japanese Theater'', Columbia University Press, 1999, ISBN-13: 978-0231108737

* Ortolani, B, The Japanese Theatre, Princeton University Press, 1995, ISBN-13: 978-0691043333

* Ortolani, B, ''The Japanese Theatre'', Princeton University Press, 1995, ISBN-13: 978-0691043333

* Mikiko Utiyama, Theater Research Bulletin, 2002 (『十世豊竹若大夫』、2002年)

* Mikiko Utiyama, ''Theater Research Bulletin'', 2002 (『十世豊竹若大夫』、2002年)

* Kiyoshi Mizuochi, Bunraku, 1989 (『文楽』、1989年)

* Kiyoshi Mizuochi, ''Bunraku'', 1989 (『文楽』、1989年)

==External Links==

==External links==

* [http://www.bunraku.or.jp/english.html Bunraku Kyokai Official Homepage]

* [http://www.bunraku.or.jp/english.html Bunraku Kyokai Official Homepage]