# data[].attributes.body
-Founded in Osaka, Japan during the Edo period (1603-1868)

-Edo is modern day Tokyo

-Bunraku was initially referred to as Ningyo joruri and later renamed to Bunraku in 1872

# data[].attributes.attachment_caption
The tayu on the left reads the script while the shamisen player sits and plays on the right

# data[].attributes.headline
What is Bunraku and how is it performed?

# data[].attributes.subject
What is Bunraku and how is it performed?

# data[].attributes.body
-Bunraku merges sung narratives, instrumentals, and puppeteering together into one art from

-Bunraku performances consisted of plays set in feudalistic Japan (Jidaimono) and contemporary dramas regarding love affairs and social obligation (Sewamono)

-Three visible puppeteers articulate each character behind a waist high screen

-The narrator (tayu) and musician sit on a yuka (projected elevated platform) on the righthand wall facing the audience

-The primary instrument used in Bunraku performances is the shamisen (three-stringed spike lute)

-The narrator describes the action on stage and voices all male and female characters

-Narrator relies on both scripted text and improvisation during performances

# data[].attributes.attachment_caption
A male and female Hina doll (Sansai Ryori Tamaki doll collection)

# data[].attributes.body
-Traveling doll acrobatics and plays developed during the Heian period (794-1192), later merging with joruri to form Ningyo joruri (Bunraku)

-Narration and music collaboration used in Bunraku became popularized in the 13th century

-In the 16th century the shamisen became the primary instrument used in Bunraku

# data[].attributes.attachment_caption
"Takemoto Chikugonojo No E (Takemoto Gidayu Shozo)"(Komaba Library,The University of Tokyo collection)

# data[].attributes.body
-Takemoto Gidayu (1651-1714) was a narrator in a Ningyo joruri troupe who later split from the troupe to became an independent narrator

-Established the Takemoto-za theatre in Dotonbori, Osaka in 1684

-Developed the sung narrative style of Gidayu-bushi which became synonymous with that of Bunraku

# data[].attributes.attachment_caption
"Chikamatsu Monzaemon Shozo"
(Waseda University The Tsubouchi Memorial Theatre Museum collection)

# data[].attributes.body
-Chikamatsu Monzaemon (1653-1724) was a Japanese playwright who collaborated with Gidayu and wrote over 100 Bunraku works in his lifetime

-Was an author who entered the performing arts whilst being a samurai

-Wrote the first new work performed at Takemoto-za: "Shusse Kagekiyo (Kagekiyo Victorious)"

# data[].attributes.attachment_caption
Toyotake Wakadayû as seen in a Meiji period print

# data[].attributes.body
-Toyotake Wakadayu (1681-1764) was a protege of Gidayu who left Takemoto-za to open a rival theater, Toyotake-za, in 1703.

-Takemoto-za and Toyotake-za's rivalry further popularized Bunraku, helping the art reach its golden age

# data[].attributes.attachment_caption
People enjoying joruri
"Shokunin Zukushi Ekotoba" vol.1
(National Diet Library collection)

# data[].attributes.body
-Uemura Bunrakuken (1751-1810) opened a joruri training school in Osaka and renewed the popularity of the art in the late 18th century

-The modern name for Bunraku is derived from Bunrakuken's troupe name: Bunrakuza

# data[].attributes.attachment_caption
The National Bunraku Theatre in Osaka, Japan

# data[].attributes.body
-The National Theatre opened in Tokyo in 1966

-The National Bunraku Theatre opened in Osaka in 1984

-Since 2008, Bunraku has been recognized as a UNESCO Intangible Cultural Heritage of Humanity

# data[].attributes.attachment_caption
Three puppeteers operating a male doll. The main puppeteer wears a hakama while the other two are dawning black hoods and body coverings

# data[].attributes.body
-Each handmade puppet used in Bunraku has a unique facial expression to their character and requires 3 individual puppeteers to operate each

-This 3 puppeteer style was derived from the initial single puppeteer style in the 18th century

-The main puppeteer (omozukai) moves the body and head with their left hand by holding the doll's neck and uses their right hand to operate the puppet's right hand

-The second puppeteer (hidarizukai) operates the doll's left hand with their own right hand

-The third puppeteer (ashizukai) articulates the doll's feet with both hands

-Female dolls, by rule, lack feet, therefore the ashizukai uses their arms and hands to hold and move the doll's kimono to give the illusion of moving legs

-The overall assembly of the puppeteers consist of the omozukai being on the doll's right, the hidarizukai on the dolls left, and the ashizukai standing in position between them

-Occasionally the hidarizukai and and ashizukai are dressed in all black with hoods over their heads while the omozukai wears a hakama, but it is not entirely uncommon for all three to be seen wearing either a hakama or a black hood and clothing

# data[].attributes.body
“Bunraku.” Www.japan-Guide.com, www.japan-guide.com/e/e2092.html#:~:text=Bunraku%20(%E6%96%87%E6%A5%BD)%20is%20the%20traditional.

“Bunraku | Traditional Kyoto.” Traditional Kyoto, traditionalkyoto.com/culture/bunraku/.

“Invitation to BUNRAKU.” Jac.go.jp, 2017, www2.ntj.jac.go.jp/unesco/bunraku/en/.

“Ningyo Johruri Bunraku Puppet Theatre | Amara.” Amara.org, 2024, amara.org/videos/asp7zSH7hXQj/info/ningyo-johruri-bunraku-puppet-theatre/. Accessed 9 Sept. 2024.

“時代雛特集｜山菜料理玉貴.” 山菜料理玉貴, 2019, www.sansai-tamaki.com/en/aboutus-hinadoll.html. Accessed 9 Sept. 2024.