Changes

==The ''Shamisen'' Player==

==The ''Shamisen'' Player==

There are three types of ''shamisen'', namely the ''futo-zao'' (<font size=3>太ざお</font> "thick-necked"), ''naka-zao'' (<font size=3>中ざお</font> "medium-necked"), and ''hoso-zao'' (<font size=3>細ざお</font> "thin-necked"). The ''futo-zao shamisen'' is the largest and lowest pitched of the three types, and is the one used for ''gidayu-bushi'', as the accompanying chanting eminates from the lower abdomen, which is matched by the powerful timbre of the ''futo-zao''. Unlike most other forms of accompaniment, the ''shamisen'' used in ''gidayu-bushi'' must "play the strings of the heart" and like as the chanter, when reciting, places more importance on expressing the feelings of the tale than on actual musicality. The ideal performance is for the ''shamisen'' player to become one in spirit with the chanter. Unlike with the recitation, which is expressed through words, the ''shamisen'' requires extremely difficult techniques to express human emotions through a single tonal colour.  

There are three types of ''shamisen'', namely the ''futo-zao'' (<font size=3>太ざお</font> "thick-necked"), ''naka-zao'' (<font size=3>中ざお</font> "medium-necked"), and ''hoso-zao'' (<font size=3>細ざお</font> "thin-necked"). The ''futo-zao shamisen'' is the largest and lowest pitched of the three types, and is the one used for ''gidayu-bushi'', as the accompanying chanting emanates from the lower abdomen, which is matched by the powerful timbre of the ''futo-zao''. Unlike most other forms of accompaniment, the ''shamisen'' used in ''gidayu-bushi'' must "play the strings of the heart" and like as the chanter, when reciting, places more importance on expressing the feelings of the tale than on actual musicality. The ideal performance is for the ''shamisen'' player to become one in spirit with the chanter. Unlike with the recitation, which is expressed through words, the ''shamisen'' requires extremely difficult techniques to express human emotions through a single tonal colour.  

　

　

==The Puppeteers==

==The Puppeteers==

Bunraku puppets differ from any other type of puppet in that it requires 3 puppeteers to manipulate each individual doll. The three puppeteers are the ''omo-tsukai'' (<font size=3>面遣</font>い) , or the "head puppeteer", who operates both the doll's head and face, by holding a stick with levers in his left hand, and also the doll's right hand with his own right hand; the ''hidari-tsukai'' (<font size=3>左遣い</font>), or "left-hand puppeteer", who uses his right hand to operate the doll's left hand; and the ''ashi-tsukai'' (<font size=3>足遣い</font>), or "foot puppeteer", who uses both hands to suggest the movements of the doll's legs and feet. Skillful manipulators can even have the puppets handle and manipulate small objects, or even tear up a letter.  

Bunraku puppets differ from any other type of puppet in that it requires 3 puppeteers to manipulate each individual doll. The three puppeteers are the ''omo-tsukai'' (<font size=3>面遣</font>い), or the "head puppeteer", who operates both the doll's head and face, by holding a stick with levers in his left hand, and also the doll's right hand with his own right hand; the ''hidari-tsukai'' (<font size=3>左遣い</font>), or "left-hand puppeteer", who uses his right hand to operate the doll's left hand; and the ''ashi-tsukai'' (<font size=3>足遣い</font>), or "foot puppeteer", who uses both hands to suggest the movements of the doll's legs and feet. Skillful manipulators can even have the puppets handle and manipulate small objects, or even tear up a letter.  

The three puppeteers must work together in perfect harmony, otherwise the puppet's motions will seem unnatural and the doll will never appear to come to life. The left hand of the head puppeteer, which supports the weight of the heavy doll, represents the puppet's spine, and it is through his left hand that the illusion of life is first breathed into the puppet. An apprentice puppeteer will begin with the feet, and then move to the left hand, and finally to the head and right hand. The period of study required to progress is so long that the saying is, "Ten years for the feet, ten years for the left".

The three puppeteers must work together in perfect harmony, otherwise the puppet's motions will seem unnatural and the doll will never appear to come to life. The left hand of the head puppeteer, which supports the weight of the heavy doll, represents the puppet's spine, and it is through his left hand that the illusion of life is first breathed into the puppet. An apprentice puppeteer will begin with the feet, and then move to the left hand, and finally to the head and right hand. The period of study required to progress is so long that the saying is, "Ten years for the feet, ten years for the left".

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 and 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.  

[[category:Japanese culture]][[category:Theater]]

[[Category:Japanese culture]][[Category:Theater]]