# Japanese Basic Course, Lesson 148

Narration and the written language

Source: https://1732studios.com/courses/ja/146. Data: https://1732studios.com/courses/ja/146.json.

## Classical Japanese theater forms · Narration 1 of 2

### Noh on its special stage

*能は 日本の 演劇では 最も 古い もので、屋根の ある 専用舞台で 演じられ、仮面を 使って、脚本、音楽、演技などに 独特の 様式を 備えた 歌舞劇である* describes Noh as Japan's oldest theater form and a musical drama.

It is performed on a special roofed stage. It uses masks and has distinct conventions for scripts, music, and acting.

*能の 音楽というのは「はやし」と「うたい」の 事である* means "Noh music consists of hayashi instrumental music and utai chanting."

### The comic form without music

*狂言というのは 能の 一種で、喜劇的なものである* means "Kyogen is a kind of Noh and is comic in nature."

*狂言には「はやし」が つかない* means "Kyogen has no hayashi accompaniment."

### Kanji: 演 to 舞

New kanji in these lines. Read down: the kanji, its reading, then the words it makes.

### Kanji: 楽, 喜

New kanji in these lines. Read down: the kanji, its reading, then the words it makes.

**1** 日本の 演劇には 古典として 能、狂言、文楽（人形 浄瑠璃）、歌舞伎、近代劇として 新劇、大衆劇として 新派、新国劇、軽演劇、少女歌劇（宝塚、松竹）などが ある。  
にほんのえんげきにはこてんとしてのう、きょうげん、ぶんらく（にんぎょうじょうるり）、かぶき、きんだいげきとしてしんげき、たいしゅうげきとしてしんぱ、しんこくげき、けいえんげき、しょうじょかげき（たからずか、しょうちく）などがある。  
Japanese theater includes the classical forms of Noh, Kyogen, Bunraku puppet theater, and Kabuki; the modern theater called Shingeki; and popular theater such as Shimpa, Shinkokugeki, light theater, and girls’ musical theater, including Takarazuka and Shochiku.

**2** 能は 日本の 演劇では 最も 古い もので、屋根の ある 専用舞台で 演じられ、仮面を 使って、脚本、音楽、演技などに 独特の 様式を 備えた 歌舞劇である。  
のうはにほんのえんげきではもっともふるいもので、やねのあるせんようぶたいでえんじられ、かめんをつかって、きゃくほん、おんがく、えんぎなどにどくとくのようしきをそなえたかぶげきである。  
Noh is the oldest form of Japanese theater; it is performed on a special roofed stage, uses masks, and is a musical drama with distinctive conventions in its scripts, music, acting, and other elements.

**3** 能の 音楽というのは「はやし」と「うたい」の 事である。  
のうのおんがくというのは「はやし」と「うたい」のことである。  
The music of Noh consists of hayashi instrumental music and utai chanting.

**4** 狂言というのは 能の 一種で、喜劇的なものである。  
きょうげんというのはのうのいっしゅで、きげきてきなものである。  
Kyogen is a kind of Noh and is comic in nature.

**5** 狂言には「はやし」が つかない。  
きょうげんには「はやし」がつかない。  
Kyogen has no hayashi accompaniment.

**6** 文楽は 義太夫節という 浄瑠璃を 使って 演じる 人形芝居で ある。  
ぶんらくはぎだゆうぶしというじょうるりをつかってえんじるにんぎょうしばいである。  
Bunraku is puppet theater performed with a kind of joruri chanting called Gidayu-bushi.

**7** 歌舞伎は 三百年の 歴史を持つもので、最も 大衆に 愛好されているものである。  
かぶきはさんびゃくねんのれきしをもつもので、もっともたいしゅうにあいこうされているものである。  
Kabuki has a history of three hundred years and is the form most popular with the general public.

```
Noh Drama

Noh is the oldest of the three major forms of classical Japanese drama. It traces its origin to the 13th century when various rituals and religious dances of the preceding eras were integrated and developed. Noh reached its present form in the early 15th century.

The Noh may be described as a solemn operatic performance consisting of HAYASHI (music) and dancing, accompanied by the recitation of UTAI, masks being used in the chief roles SHITE and TSURE, to indicate the characters portrayed. The UTAI, or recitative chants, form an integral part of the Noh and are as old as the original SARUGAKU. The Noh treat mostly of historical subjects and are strongly tinged with Buddhist views of life owing to the influence exercised by priests in their composition.

The stage of the Noh plays is characteristic in style and a brief description of it is necessary, as many of its elements appear in the KABUKI drama. It is 27 feet in width and 18 feet in depth, and is covered

with a roof like that of a Shintoo shrine, supported by pillars at the four corners. Adjoining the stage on the left, as we face it, is a corridor connecting the stage with the greenroom, by which the actors enter or leave the stage and which is also used for part of the action of the drama. The sides of the stage are open and at the back is painted an idealized pine tree symbolic of the time when the Noh were performed outdoors on a lawn before a shrine with pine trees as a background.

Before the play begins, the orchestra seat themselves on the floor at the back of the stage facing the audience. The instruments used are hand drums, flutes, and larger drums. When the orchestra have taken up their position, the members of the chorus file in through a small door to the right of the stage and kneel in two rows on the right. The actors speak their individual parts, while the explanatory portions of the drama are chanted by the chorus.
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KYOOGEN (Comic Interlude)

With the development of the Noh, there appeared a

sister performance called KYOOGEN, which was the outcome of the comic element in the old SARUGAKU. The KYOOGEN are one-act comic interludes generally performed on the same stage as the Noh plays and in the intervals between the more serious Noh plays. Their purpose is to relax the strain on the nerves of the audience produced by the solemn Noh performances. The KYOOGEN are the only plays of old Japan which have no musical accompaniment and resemble European dramas in form.
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JOORURI

Jooruri are dramatic ballads, written generally in alternate seven and eight syllabled lines, and sung or chanted to the music of the samisen. Their origin is traced to a palace attendant named Ono-no-Otsuu, who lived at the end of the 16th century and composed a dramatic ballad called Jooruri-hime Monogatari (Story of Lady Jooruri). This ballad recited the love affairs of the famous warrior Yoshitsune and a fictitious heroine of supreme beauty named Jooruri. It was set to music by Sawazumi-Kengyoo, who used the samisen for the first

time for the musical accompaniment. This innovation enjoyed great popularity and henceforward this style of chanting came to be known as jooruri.
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GIDAYUU

Towards the close of the 17th century, a great jooruri chanter, Takemoto Gidayuu (1651-1714), rose to fame in Osaka. He had a powerful voice of good tone and his style of chanting jooruri differed from that in vogue. His fame gradually spread throughout Japan, and, as time passed, his school gained so many disciples that at last almost all jooruri reciters adopted his style and the jooruri itself became the Gidayuu.

The great popularity of the Gidayuu school was largely owing to the excellent jooruri written by Chikamatsu Monzaemon, who has already been referred to as a writer for the Kabuki theater. Chikamatsu wrote more than one hundred dramas, historical and domestic.
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Bunraku

The puppet drama is a synthetic art, combining the

manipulation of the puppets, the singing of the choruses, and the playing of the accompaniment.

Today puppet plays are occasionally performed in Tokyo. In Osaka there is a puppet theater called the Bunraku-za—the only theater of its kind in Japan—which is said to have been established by an amateur jooruri chanter named Uemura Bunrakuken, about one hundred years ago.

The puppets are of two kinds, small and large, the small not more than one foot high and operated from above with strings, which are assumed to be invisible, and the large ones at least two-thirds of life-size. When worked by skillful operators they have for the audience all the appearance of human beings. Each puppet requires one operator-in-chief and two assistants. The chief operator is generally very gaily apparelled, but the assistants wear black hoods and robes to make them inconspicuous. The operator-in-chief wears high clogs to give them the extra height necessary for holding the figure upright.
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KABUKI

As the Noh drama developed under the fostering care of the feudal daimyoo, it became too aristocratic and solemn for the common people to find any entertainment in it. There was, thus, a great tendency for a popular stage art to appear, and it was the KABUKI drama which met the demand. It developed into its present form in the 17th century. In its earliest days, it was performed by a troupe of women and later women were banned by the Shogunate to take part. Since, it has crystallized into its present form and it has been performed exclusively by men.

In 1960, a troupe including many of Japan’s leading KABUKI actors toured the United States as part of the Japan-United States Centennial celebration.
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SHIMPA (New School)

Serving as a bridge between the KABUKI and the modern drama in the Western style is a group called Shimpa, which was founded toward the end of the 19th century. Shimpa has its roots in the Kabuki tradition--originally,

for instance, it was performed only by male actors--but it is now a distinct form of its own with a natural style of acting. The action is usually set among the common people and the cast includes actresses as well as actors.
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Shingeki (New Drama)

Drama in the Western style is presented by a number of theatrical troupes. These first appeared about thirty years ago and today command a considerable following, especially among younger people. Their repertoire is extremely wide, ranging from the classics of such masters as Shakespeare, Moliere, Ibsen, and Chekhov to modern plays by contemporary playwrights, both Japanese and foreign.

The kinds and percentage of public performances given at the principal theaters in Tokyo and Kansai cities in 1950 were as follows:

| 
Bunraku | 8%
Kabuki | 37%
Shimpa | 27%
Shingeki | 15%

| 
Light Musical Plays | 3%
Opera and Girls’ Opera | 10%
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Noh Masks

Collecting Noh masks can become a novel and interesting hobby. These masks hung on the walls will enliven a room and provide a fertile topic of conversation. They can also be sent to friends as unique presents.

In the Noh, masks were originally used instead of makeup. Some of them have been carved by renowned artisans and are rare works of art. OKINA (old man), young man, beautiful woman, and HANNYA (demon) are some of the more familiar types of Noh masks.

つづみ
花柳界最高の格式を誇る東京の新橋芸妓の中で、囃し方を代表する住田流鼓のいせ子さん。たゆまぬ芸への精進が東をどりの舞台にけんらんと花ひらきます

三味線
```

| word | gloss |
|---|---|
| の | See Grammar Notes |
| 演劇 | play; drama |
| に | on (See Gram. Notes) |
| は | leaves |
| 古典 | classics; classical drama |
| と | and (See Gram. Notes) |
| し | city |
| 能、 | Noh play |
| 狂言、 | Noh comedy |
| 浄瑠璃）、 | ballad drama |
| 新劇、 | new drama |
| 大衆 | mass of people |
| 新派、 | new school (play) |
| 少女 | young (little) girl |
| （宝塚、 | P.N., amusement center and spa (See Cult. Notes) |
| など | and so forth, etc. |
| が | but (See Gram. Notes) |
| ある。 | certain, some |
| で | --is and -- (See Grammar Notes) |
| 古い | old, antique |
| もの | things (tangible) |
| 専用 | exclusive |
| 舞台 | stage |
| 仮面 | mask |
| を | particle denoting direct object (See Pattern Drill) |
| 脚本、 | script; scenario; play |
| 音楽、 | music |
| 演技 | acting; performance |
| 様式 | mode; form; style |
| 「はやし」 | orchestra; musical accompanist |
| 「うたい」 | chanting |
| 一種 | a kind of; a sort of |
| な | I wish, I hope, huh |
| 演じる | perform; play |
| 三百 | 300 |
| 年 | year (See Grammar Notes) |
| いる | to need (See Gram. Notes) |

## Modern theater and Western influence · Narration 2 of 2

### A new school opposed to Kabuki

*新派というのは 現在 行なわれている 演劇の 一種で* identifies Shimpa as a form of theater performed at the time described.

It arose during the Meiji period in opposition to Kabuki. Its name contrasts the new school with Kabuki as the old school.

### Western drama in Japanese

*新劇というのは 明治に はいってから 西洋 演劇の 影響によって 出来たもので* says that Shingeki developed after the start of the Meiji period under Western influence.

It is neither Kabuki nor Shimpa. *シェックスピアの 様な 西洋の ドラマを 日本語で 上演した ものである* means "It presents Western dramas such as Shakespeare's in Japanese."

**8** 歌舞伎の 伴奏は 長唄又は 浄瑠璃、三味線、はやしが これを つかさどる。  
かぶきのばんそうはながうたまたはじょうるり、さみせん、はやしがこれをつかさどる。  
Kabuki accompaniment is provided by nagauta or joruri, shamisen, and hayashi music.

**9** 新派というのは 現在 行なわれている 演劇の 一種で、明治時代に 従来 あった 歌舞伎と 対立して 発生し、歌舞伎の  
しんぱというのはげんざいおこなわれているえんげきのいっしゅで、めいじじだいにじゅうらいあったかぶきとたいりつしてはっせいし、かぶきの  
Shimpa is a kind of theater performed today; it arose during the Meiji period in opposition to the existing Kabuki theater, and in contrast to Kabuki’s

**10** 旧派に 対する 新派と 俗称されている。  
きゅうはにたいするしんぱとぞくしょうされている。  
“old school,” it is commonly called the “new school.”

**11** 新劇というのは 明治に はいってから 西洋 演劇の 影響によって 出来たもので、日本の 歌舞伎でも なければ 新派でも ない。  
しんげきというのはめいじにはいってからせいようえんげきのえいきょうによってできたもので、にほんのかぶきでもなければしんぱでもない。  
Shingeki developed after the beginning of the Meiji period under the influence of Western theater, and is neither Japanese Kabuki nor Shimpa.

**12** シェックスピアの 様な 西洋の ドラマを 日本語で 上演した ものである。  
シェックスピアのようなせいようのドラマをにほんごでじょうえんしたものである。  
It presents Western dramas such as Shakespeare’s in Japanese.

**13** 新国劇は 沢田正二郎の 創立した 劇団であって、剣劇の 創始と メロドラマを ねらいとしたものである。  
しんこくげきはさわだしょうじろうのそうりつしたげきだんであって、けんげきのそうしとメロドラマをねらいとしたものである。  
Shinkokugeki was a theatrical company founded by Shojiro Sawada, with the aim of pioneering sword-fighting drama and melodrama.

| word | gloss |
|---|---|
| 伴奏 | accompaniment |
| 長唄 | Nagauta music |
| 浄瑠璃、 | ballad drama |
| 線、 | line |
| はやし | orchestra; musical accompanist |
| つかさどる。 | preside over; take charge of; manage |
| 新派 | new school (play) |
| 現在 | present; at present |
| で、 | --is and -- (See Grammar Notes) |
| 時代 | era, period |
| 従来 | up to now; heretofore |
| 旧派 | old school |
| 新劇 | new drama |
| から | from (See Gram. Notes) |
| 西洋 | occident, the West |
| も | as much as, as many as (See Grammar Notes |
| ドラマ | drama |
| 劇団 | dramatic company; troupe |
| 剣劇 | sword-fighting play |
| 創始 | creation; origination |
| メロドラマ | melodrama |
| ねらい | aim |

## Noh and theater categories · Questions 1 of 2

### Categories and features of Noh

*日本の 演劇には 古典として どんなのが ありますか* means "What classical forms are there in Japanese theater?" An answer names the classical forms.

Other questions ask for the modern and popular forms. They also ask where Noh is performed and what kind of drama it is.

*狂言というのは 何ですか* means "What is Kyogen?" An answer identifies the comic form of Noh.

**14** 日本の 演劇には 古典として どんなのが ありますか。  
にほんのえんげきにはこてんとしてどんなのがありますか。  
What classical forms are there in Japanese theater?

**15** 近代劇として どんなのが ありますか。  
きんだいげきとしてどんなのがありますか。  
What forms of modern theater are there?

**16** 大衆劇として どんなのが ありますか。  
たいしゅうげきとしてどんなのがありますか。  
What forms of popular theater are there?

**17** 能は どこで 演じられますか。  
のうはどこでえんじられますか。  
Where is Noh performed?

**18** 能は どんな 劇ですか。  
のうはどんなげきですか。  
What kind of drama is Noh?

**19** 能の 音楽というのは 何ですか。  
のうのおんがくというのはなんですか。  
What does the music of Noh consist of?

**20** 狂言というのは 何ですか。  
きょうげんというのはなんですか。  
What is Kyogen?

| word | gloss |
|---|---|
| どんな | what kind of; what sort of |
| ます | trout |
| か。 | either--or-- (See Gram. Notes) |
| 能 | Noh play |
| です | to be (See Gram. Notes) |
| 音楽 | music |
| 狂言 | Noh comedy |

## Bunraku, Kabuki and modern theater · Questions 2 of 2

### Puppets, voices, and accompaniment

*文楽というのは どんなものですか* means "What kind of theater is Bunraku?"

Bunraku combines puppet handling, chorus singing, and musical accompaniment. An answer identifies these parts of the puppet drama.

### A popular stage art

*最も 大衆に 愛好されているのは 何ですか* means "Which form is most popular with the general public?" The answer is *歌舞伎*.

Kabuki developed as a popular stage art and took its present form in the seventeenth century. Men performed it after women were banned.

*歌舞伎の 伴奏は 何がつかさどりますか* asks what provides Kabuki accompaniment. Its answer names the vocal and instrumental music.

**21** 文楽というのは どんなものですか。  
ぶんらくというのはどんなものですか。  
What kind of theater is Bunraku?

**22** 最も 大衆に 愛好されているのは 何ですか。  
もっともたいしゅうにあいこうされているのはなんですか。  
Which form is most popular with the general public?

**23** 歌舞伎の 伴奏は 何がつかさどりますか。  
かぶきのばんそうはなにがつかさどりますか。  
What provides the accompaniment for Kabuki?

**24** 新派というのは 何ですか。  
しんぱというのはなんですか。  
What is Shimpa?

**25** 新劇というのは どんなものですか。  
しんげきというのはどんなものですか。  
What kind of theater is Shingeki?

**26** 新国劇というのは どんなものですか。  
しんこくげきというのはどんなものですか。  
What kind of theater is Shinkokugeki?

**27** 新国劇は だれの 創立した ものですか。  
しんこくげきはだれのそうりつしたものですか。  
Who founded Shinkokugeki?

| word | gloss |
|---|---|
| だれ | who? |

## Japanese theater vocabulary · Word list 1 of 4

### Forms of Japanese theater

These words classify Japanese theater. *古典* means "classical drama", *近代劇* means "modern drama", and *大衆劇* means "popular drama".

The other entries name forms within these categories.

**28** 演劇  
えんげき  
play; drama

**29** 古典  
こてん  
classics; classical drama

**30** 能  
のう  
Noh play

**31** 狂言  
きょうげん  
Noh comedy

**32** 人形浄瑠璃  
にんぎょうじょうるり  
puppet ballad drama

**33** 近代劇  
きんだいげき  
modern drama

**34** 新劇  
しんげき  
new drama

**35** 大衆劇  
たいしゅうげき  
popular drama

**36** 新派  
しんぱ  
new school (play)

**37** 新国劇  
しんこくげき  
Shinkoku drama

**38** 軽演劇  
けいえんげき  
light drama

| word | gloss |
|---|---|
| 人形浄瑠璃 | puppet ballad drama |
| 近代劇 | modern drama |
| 大衆劇 | popular drama |
| 新国劇 | Shinkoku drama |
| 軽演劇 | light drama |

## Masks, scripts and performance · Word list 2 of 4

### The elements of a Noh performance

The performance words include *仮面*, "mask", *脚本*, "script", and *舞台*, "stage".

In Noh, masks were originally used instead of makeup. Some were carved by renowned artisans and are rare works of art.

The other entries cover music, chanting, acting, and operatic drama.

**39** 少女歌劇  
しょうじょかげき  
young girls' opera

**40** 専用  
せんよう  
exclusive

**41** 演じる  
えんじる  
perform; play

**42** 仮面  
かめん  
mask

**43** 脚本  
きゃくほん  
script; scenario; play

**44** 音楽  
おんがく  
music

**45** 演技  
えんぎ  
acting; performance

**46** 歌舞劇  
かぶげき  
opera; operatic play

**47** はやし  
はやし  
orchestra; musical accompanist

**48** うたい  
うたい  
chanting

**49** 舞台  
ぶたい  
stage

| word | gloss |
|---|---|
| 少女歌劇 | young girls' opera |
| 脚本 | script; scenario; play |
| 歌舞劇 | opera; operatic play |
| うたい | chanting |

## Music, comedy and opposition · Word list 3 of 4

### Ballad drama with the samisen

*浄瑠璃* means "ballad drama". Joruri ballads generally use alternating lines of seven and eight syllables.

They are sung or chanted to samisen music. This style of chanting took its name from *Jooruri-hime Monogatari*.

### The Gidayuu style

*義太夫節* means "GIDAYUU recital". Takemoto Gidayuu became famous in Osaka near the end of the seventeenth century.

His school gained many disciples. Almost all joruri reciters eventually adopted his style.

**50** 喜劇的な  
きげきてきな  
comic

**51** 義太夫節  
ぎだゆうぶし  
GIDAYUU recital

**52** 浄瑠璃  
じょうるり  
ballad drama

**53** 愛好する  
あいこうする  
love; fond of

**54** 伴奏  
ばんそう  
accompaniment

**55** 長唄  
ながうた  
Nagauta music

**56** 三味線  
しゃみせん  
Japanese musical instrument (Shamisen)

**57** つかさどる  
つかさどる  
conduct; take charge of

**58** 従来  
じゅうらい  
up to now; heretofore

**59** 対立する  
たいりつする  
be opposed to

**60** 発生する  
はっせいする  
come into existence; spring up

| word | gloss |
|---|---|
| 喜劇的な | comic |
| 義太夫節 | GIDAYUU recital |
| 浄瑠璃 | ballad drama |
| 愛好する | love; fond of |
| 三味線 | Japanese musical instrument (Shamisen) |
| つかさどる | preside over; take charge of; manage |
| 対立する | be opposed to |
| 発生する | come into existence; spring up |

## Troupes, swordplay and melodrama · Word list 4 of 4

### Companies, productions, and aims

These words describe how theater is organized and presented. *劇団* means "dramatic company" or "troupe", and *上演する* means "present".

*剣劇* means "sword-fighting play". The other entries cover drama, melodrama, creation, and purpose.

**61** 旧派  
きゅうは  
old school

**62** 俗称される  
ぞくしょうされる  
be commonly called

**63** ドラマ  
ドラマ  
drama

**64** 上演する  
じょうえんする  
present; put on the stage

**65** 劇団  
げきだん  
dramatic company; troupe

**66** 剣劇  
けんげき  
sword-fighting play

**67** 創始  
そうし  
creation; origination

**68** メロドラマ  
メロドラマ  
melodrama

**69** ねらい  
ねらい  
aim

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Guide for Free Conversation and Exercise

1 Topics:

a Talk about the following topics in Japanese with your classmates.

(1) Japanese drama in general

(2) Noh Play

(3) KABUKI Play

(4) Japanese musical instruments

2 Exercise:

a Interpretation Exercise:

1 What kind of Japanese drama is there?

1 古典として 能、狂言、文楽、歌舞伎 などがあり、近代劇として 新劇、大衆劇として 新派、新国劇、軽演劇、少女歌劇 などがあります。

2 Where is the Noh play performed?

2 屋根のある 専用舞台で 演じられます。

3 What is a Noh play?

3 仮面を 使って 脚本、音楽、演技などに 独特の 様式を 備えた 歌舞劇です。

4 日本の 演劇の中で 最も 大衆に 愛好されているものは 何ですか。

4 It is Kabuki.

5 What is so-called new drama?

5 明治に はいってから 西洋 演劇の 影響によって 出来たもので、日本の 歌舞伎でも なければ 新派でも ないのです。西洋の ドラマを 日本語で 上演したものです。
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Homework

1 Study the Narration thoroughly and memorize the vocabulary.

2 Read the Guide for Free Conversation and do the exercises given.

3 Learn to read and write the new Kanji.

4 Read the Cultural Notes.
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| word | gloss |
|---|---|
| 俗称される | be commonly called |
| 上演する | present; put on the stage |