「文楽」は、日本を代表する伝統的な演劇芸術の1つです。
“Bunraku
文楽” is one of Japan's representative traditional theater arts.
“Bunraku”
was inscribed on UNESCO's Representative List of the Intangible Cultural Heritage
of Humanity in 2003.
“Bunraku”
is a closely collaborative form which synchronizes narrative recitation, music
by “Shamisen 三味線 Stringed instrument” and performance
of “Ningyō 人形 Manipulated Doll”.
Recitation
of stories by a narrator, the dynamic and delicate sound of “Shamisen”, and the
beautiful movements of “Ningyō” shock the audience.
Featuring
this outstanding unique style, “Bunraku” is praised as very sophisticated
theater arts of “Ningyō” in the world.
The
stories performed are complex narratives depicting the transience of the world,
sad romance, separation between a parent and a child and so on.
Important
components of “Bunraku” also include witty humor and brilliant dancing.
The performers are the narrator, “Shamisen” player, and “Ningyō-zukai”.
The
narrator known as “Tayū 太夫” narrates the
scene and dialogue of the characters, all by himself.
Next to
him, the “Shamisen” player portrays the setting and the changes in emotion
through sound.
“Ningyō-zukai”
illustrate the stories.
The
method of having people manipulate a single doll by three “Ningyō-zukai” creates
its beautiful, exquisite movements.
The
stories such as “Heike Monogatari 平家物語 The Tale of the
Heike” created in the 13th century (“Kamakura-jidai 鎌倉時代 Period”) are narrated by “Biwa-hōshi 琵琶法師 Monk” with music by “Biwa 琵琶 Stringed
instrument”.
In the
latter half of the 16th century, “Sansin 三線 Stringed
instrument” was brought from “Ryūkyū Ōkoku 琉球王国 Kingdom”, and “Biwa-hōshi Monk” remodeled “Sansin” to “Shamisen”.
「三線」は「胴」に蛇の皮を使いますが、「三味線」は「胴」に猫や犬の皮を使います。
“Sansin”
uses snake skin for its “Dō 胴 Sounding part”,
while “Samisen” uses cat or dog skin for its “Dō Sounding part”.
その後、「琵琶」に替わって「三味線」が「語り物」の楽器として使われるようになりました。
After
that, “Shamisen” was used as the instrument of “Katari-mono 語り物 Vocal music” instead of “Biwa”
Later, a
play entitled “Jōruri-hime 浄瑠璃姫 Princess” gained
popularity, and this type of performing art of “Katari-mono” came to be known
as “Jōruri”.
And this
“Katari-mono Vocal music” merged with puppetry that has existed since ancient
times, and “Ningyō-Jōruri 人形浄瑠璃” was developed in
Osaka in the latter half of 17th.
Already,
by “Heian-jidai 平安時代 Period (794-1192)”, puppetry were
performed by performance troupes that traveled all around the country.
“Takemoto
Gidayū
Eventually,
the narrative of “Takemoto Gidayū” was called “Gidayū-bushi
Until
the beginning of the 18th century, “Ningyō” was manipulated by one “Ningyō-zukai”,
but in 1734, “Ningyō” was manipulated by three “Ningyō-zukai 人形遣い” in “Takemoto-za”.
The
excellent plays written by “Chikamatsu Monzaemon 近松門左衛門” were performed, gained popularity, and “Ningyō-Jōruri” reached its
heyday in Osaka in the mid-18th century.
Although
it declined temporarily, at the beginning of the 19th century, the promoter
“Uemura Bunrakuken 植村文楽軒” was revived “Ningyō-Jōruri”, and
“Bunraku” became synonymous with “Ningyō-Jōruri”.