BUNRAKU

Japanese traditional puppet theatre in which nearly life-size dolls act out a chanted dramatic narrative, called joruri, to the accompaniment of a small samisen (three-stringed Japanese lute). The term bunraku derives from the name of a troupe organized by puppet master Uemura Bunrakuken in the early 19th century; the term for puppetry is ayatsuri and puppetry theatre is more accurately rendered ayatsuri joruri. Puppetry appeared around the 11th century with kugutsu-mawashi (puppet turners), gypsylike wanderers whose art may have come from Central Asia. Until the end of the 17th century, the puppets were still primitive, having neither hands nor feet. Before the 18th century the puppet manipulators remained hidden; after that time they emerged to operate in the open. Dolls now range in height from one to four feet; they have heads, hands, and legs of wood (female dolls do not have legs or feet because premodern dress hid that part of the female body). The dolls are trunkless and elaborately costumed. Principal dolls require three manipulators. The chief handler, wearing 18th-century dress, operates the head and right hand, moving the eyes, eyebrows, lips, and fingers. Two helpers, dressed and hooded in black to make themselves invisible, operate the left hand and the legs and feet (or in the case of female dolls, the movements of the kimono). The puppeteer's art requires long training to achieve perfect synchronization of movement and thoroughly lifelike actions and portrayal of emotions in the dolls. Puppet theatre reached its height in the 18th century with the plays of Chikamatsu Monzaemon. Later it declined because of the lack of excellent joruri writers. In 1963 two small rival troupes joined to form the Bunraku Kyokai (Bunraku Association), which is based at the Asahi-za (originally called the Bunraku-za), a traditional bunraku theatre in Osaka; performances are also held in nearby Kokuritsu Bunraku Gekijo (National Bunraku Theatre; opened 1984) and in Tokyo. See also joruri.