[{"data":1,"prerenderedAt":129},["ShallowReactive",2],{"journals-post-q5a0us93nb":3},{"id":4,"createdAt":5,"updatedAt":6,"publishedAt":7,"revisedAt":6,"title":8,"tags":9,"cover":11,"contents":19,"lang":69,"categories":127,"category":128,"pickup":125},"q5a0us93nb","2022-06-14T10:01:16.231Z","2026-08-05T04:48:52.191Z","2022-12-15T09:00:00.000Z","#03 演芸",[10],"Story",{"fieldId":12,"description":13,"image":14,"subtitle":18},"cover","ピクトグラムで取り上げた日本を構成するさまざまなモチーフを深く掘り下げて、日本の多面的な魅力を発見するEJP Letter’s コラム。第3回は、長きにわたり庶民の暮らしに根付いてきた、伝統のエンターテイメント「演芸」です。（写真は新宿末廣亭の許諾を得て掲載）",{"url":15,"height":16,"width":17},"https:\u002F\u002Fimages.microcms-assets.io\u002Fassets\u002F2c0ba8b07d854880913290757619e5ca\u002F45a484f9b1bb460b9a3e80066eda2d7a\u002F_MG_3306_10.jpg",3375,6000,"TRADITIONAL JAPANESE ENTERTAINMENT［ENGEI］",[20,25,28,33,37,41,46,50,54,58,62,66],{"fieldId":21,"content":22,"images":23,"layout":24},"section","\u003Cp style=\"text-align:justify\">\u003Cstrong>日本における、お笑いの起源\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp>漫才、コント、ものまね、落語、大喜利……日本のテレビや動画配信サービスに目を向けると、老若男女、世代を超えて楽しめる多くのお笑い番組が放送されており、お茶の間に欠かせないものになっています。このように多くの人々を前に演じる芸能は「演芸」と呼ばれ、広く捉えると演劇、舞踊、歌なども含まれますが、狭義には落語や漫才といった、演芸場（寄席）で演じる大衆的な芸能を指します。\u003Cbr>そもそも昔の人々は、どんな娯楽を楽しんでいたのでしょうか？お笑い好きの日本におけるその源流は、さかのぼること約1,400年前。中国大陸から伝来した、奇術や曲芸、ものまねなど幅広い芸態を持つ「散楽（さんがく）」と呼ばれる芸能が起源と言われています。火を吹いたり、刀を飲んだり、水に潜り魚の真似をしたりと、現代のサーカスのようにエンターテイメント色が強いもので、「百戯」「雑技」とも呼ばれていました。\u003Cbr>\u003Cbr>\u003Cbr>\u003Cstrong>散楽から、最古の喜劇「狂言」へ\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">中国から伝わった散楽は、奈良時代だった日本において、物珍しさもあって、貴族たちの間で流行したと言います。荘厳な舞や音楽を奏でる「雅楽」と並んで、朝廷からの保護を受け、752年の東大寺大仏の開眼供養の際にも奉納された、そんな記録も残っています。\u003C\u002Fp>\u003Cp style=\"text-align:justify\">しかし、庶民性の強さもあり、朝廷の保護を外れたことをキッカケに、街頭などで自由に演じられることが増え、庶民の目にも触れるように。やがて散楽は日本古来の芸能と融合しながら、「猿楽」と呼ばれる芸能に発展し、猿楽の歌謡と舞踏の要素を巧みに取り入れ芸術性を高めていった「能」、猿楽の滑稽な部分をセリフ主体で劇化した「狂言」へと枝分かれしていきます。庶民の日常生活を笑いを通して伝える狂言は、日本で初めて成立した「笑いの芸術」とも言われており、歌舞伎をはじめとする後の芸能に影響を与えました。\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cimg src=\"https:\u002F\u002Fimages.microcms-assets.io\u002Fassets\u002F2c0ba8b07d854880913290757619e5ca\u002Ff2f1251f8ff94a0a86f747419044ea7b\u002F001.jpg\" alt=\"\">\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>話芸のはじまり、御伽衆の登場\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp>江戸時代に入って狂言は、武家の式楽（儀礼用の芸能）に指定されるなど幕府から手厚く保護を受け、上流階級のための格調高い笑いの芸術として確立。その一方で、庶民から愛される演芸も登場し始めます。それが「落語」と「講談」です。そのルーツを辿ると、戦国時代に活躍した「御伽衆（おとぎしゅう）」という職業に行き着きます。武田信玄や織田信長らの大名は、見聞を広め、長く続く戦の憂さを晴らすため、学者や茶人、頓智者らを召しかかえ、話し相手としました。彼らが御伽衆で、大名を飽きさせないよう、ユーモアの語り口で「滑稽ばなし」を行ったとされます。\u003C\u002Fp>\u003Cp style=\"text-align:justify\">そんな御伽衆で名を馳せたのが、豊臣秀吉に仕えた安楽庵策伝（あんらくあんさくでん）と、徳川家康に仕えた赤松法印（あかまつほういん）です。策伝は「醒睡笑（せいすいしょう）」という笑話本を残しましたが、今日でも演じられている落語の原話と思われるものが数多く収められており、「落語の祖」と言われています。一方、法印は「太平記」や「源平盛衰記」などの歴史物を読み聞かせを確立し、後に成立する講談の礎を作ったとして「講談師の祖」と呼ばれています。\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cbr>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>落語の萌芽は、三都から\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">その後、江戸時代に入り太平の世になると、御伽衆たちはその役割を失い、町に出て大名たちに語っていた「落ち」のある滑稽ばなしや軍記物語を口演。不特定多数の聴衆から代価を得る者が現れ始めます。こうした道行く人を相手に行う野外興行を「辻噺（つじばなし）」と呼びますが、その名手として京都では露の五郎兵衛が、大坂では米沢彦八がほぼ同時期に登場。人気を博して、後に「上方落語の祖」と称される存在になっていきました。一方、江戸では鹿野武左衛門（しかのぶざえもん）が登場し、諸家に招かれて座敷噺を演じたほか、仮設の小屋を建てて興行を行い、「江戸落語の祖」と称されます。\u003C\u002Fp>\u003Cp style=\"text-align:justify\">このように京都や大坂を中心に発展した上方落語は大道芸から、江戸落語はお座敷芸からそれぞれ発展。このルーツの違いが見て取れるのが、上方落語の「見台（けんだい）」と呼ばれる小さな机を前に座り、見台を小さな拍子木で打ち鳴らすという演出です。これは大通りなどの屋外で行うのが主流であるがゆえに、派手に演じて聴衆たちの足を止める必要があった名残だと言われています。対して江戸落語は、お座敷で演じられたため、じっくりと物語の内容を聴かせる芸風が今も受け継がれています。\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cimg src=\"https:\u002F\u002Fimages.microcms-assets.io\u002Fassets\u002F2c0ba8b07d854880913290757619e5ca\u002Fe6b26df427804dfa91c6f450731b95ac\u002F02.jpg\" alt=\"\">\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>寄席の誕生\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp>屋外や座敷で演じられていた落語が、常設の興行小屋で木戸銭（入場料）をとって演じられ始めたのは、18世紀後半のこと。多くの人が集まったことから、「人を集める」の意味を持つ「寄せる」から派生して、演芸小屋は「寄せ場」や「寄せ席」と呼ばれるように。次第に略されて「寄席（よせ）」となりました。同時期には歌舞伎も演じられていましたが、庶民にとってはやや贅沢な娯楽でした。それに対して、落語寄席は、屋台蕎麦と変わらぬ安価で楽しめるとあって、気楽に立ち寄れる身近なエンターテイメントとして、江戸や大坂を中心に大きな人気に。江戸時代後期には、江戸の市中に数百の寄席が存在したと言われています。\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cimg src=\"https:\u002F\u002Fimages.microcms-assets.io\u002Fassets\u002F2c0ba8b07d854880913290757619e5ca\u002F853241e275d24ab08df9c1916bfda9ed\u002F03.jpg\" alt=\"\">\u003C\u002Fp>\u003Cp>\u003Cstrong>寄席をいろどる「色物」\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">多くの寄席では、落語や講談が中心でしたが、その合間には気分転換の意味もあり、音曲や曲芸、手品など種々雑多な演芸も盛んに演じられました。それらは、興行の主体となる落語などの彩りになる芸として「色物（いろもの）」の呼び名が定着。現代の寄席を訪れて番組表（出演プログラム）を眺めると、一般的に落語家や講談師は黒文字で記載されていますが、色物の演者は赤文字で記されており、歴史の名残を見ることができます。現在、大きな人気を誇る漫才も、そんな色物の1つでした。\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cimg src=\"https:\u002F\u002Fimages.microcms-assets.io\u002Fassets\u002F2c0ba8b07d854880913290757619e5ca\u002Fa469472a9362421b9bab3ab205245e77\u002F04.jpg\" alt=\"\">\u003C\u002Fp>\u003Cp>\u003Cstrong>漫才の意外な出自\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">色物だった漫才も、最初から今のスタイルだったわけではありません。そのルーツは、約1,000年前の平安時代。新年にめでたい言葉を歌い舞い、繁栄と長寿を祈った伝統芸能「萬歳」に由来すると言われています。語り役の太夫（たゆう）と、おどけ役の才蔵（さいぞう）と呼ばれる2人1組で家々を回るのが基本的なスタイルで、太夫がおめでたい言葉を節にのせて歌唱し扇を広げて舞い、才蔵が鼓で伴奏し、合間に面白い言葉を入れる。それに対して太夫がたしなめる……まさに才蔵がボケで、太夫がツッコミ。ここに漫才の原点がありました。\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cbr>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>萬歳から万才、漫才へ\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp>正月を彩る祝福芸であった「萬歳」が、大衆芸能の道を歩み始めるのは、明治時代以降。踊りの音頭取りだった玉子家円辰（たまごやえんたつ）が、江州音頭に太夫と才蔵の掛け合いの要素を一体化させ、舞台で演じて人気を集めました。そんな歌舞音曲に萬歳の笑いをミックスした芸能は、「万才」と呼ばれるように。音楽ありきの掛け合いだった「万才」でしたが、昭和時代の初め、1組のコンビの登場でそのスタイルは様変わりします。楽器を持たず、歌も歌わず、会話だけで笑わせる「しゃべくり漫才」を横山エンタツ・アチャコが始めると、一躍この形式が主流になり、表記も「漫才」に統一されました。特に大阪では、吉本興業が設立されてから、漫才が寄席の主流を占めるようになり、現在に至ります。\u003Cbr>\u003Cbr>\u003Cbr>\u003Cstrong>今、演芸を楽しむには\u003C\u002Fstrong>\u003Cbr>\u003Cbr>戦前には都内だけでも100軒以上が存在した寄席ですが、映画やテレビの登場など、エンターテイメントが多様化するにつれて、その数は減少。とはいえ、江戸時代からの寄席の伝統を受け継ぐ、上野の「鈴本演芸場」や新宿の「末廣亭」、笑いの大劇場・大阪の「なんばグランド花月（NGK）」などさまざまな演芸を楽しめる演芸場が存在しています。次の休日は、画面上では決して味わえない、ライブ感をもって日本文化の真髄を体感すべく、色とりどりな芸達者たちが待つ演芸場に出かけませんか？\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cimg src=\"https:\u002F\u002Fimages.microcms-assets.io\u002Fassets\u002F2c0ba8b07d854880913290757619e5ca\u002F55198492b16449109dc30975bc9dad58\u002F%E3%82%A2%E3%83%BC%E3%83%88%E3%83%9B%E3%82%99%E3%83%BC%E3%83%88%E3%82%99%202.jpg\" alt=\"\">\u003C\u002Fp>",[],false,{"fieldId":21,"heading":26,"images":27,"layout":24},"日本に根を下ろす、さまざまな演芸",[],{"fieldId":29,"name":30,"pict-id":31,"body":32},"pict","落語","c_rakugo","\u003Cp style=\"text-align:justify\">江戸時代に成立し、現在にも受け継がれる日本独自の話芸の１つ。機知に富んだ結末（「オチ」または「サゲ」と呼ぶ）で話が結ばれるのが特徴。１人で何役も演じ、会話主体で身振り・手振りのみで物語を進めていく。大別すると、お座敷芸から発展した江戸落語と、関西圏を中心に発達し、大道芸に端を発した上方落語の2つがある。\u003C\u002Fp>",{"fieldId":29,"name":34,"pict-id":35,"body":36},"講談","c_kodan","\u003Cp style=\"text-align:justify\">500年以上の歴史を持つ、日本伝統の話芸。題材は、講談の「講」が歴史という意味を持つように、主に歴史上の偉人や武将にちなんだ物語が多い。「釈台」という小さな台の前に座り、張り扇（はりおうぎ）と呼ばれる紙製の扇子で釈台を叩き、メリハリをつけて物語を読み進めるのが特徴。淀みなく流れるような心地よい日本語のリズムを堪能できる。\u003C\u002Fp>",{"fieldId":29,"name":38,"pict-id":39,"body":40},"浪曲　","c_rokyoku","\u003Cp style=\"text-align:justify\">三味線を伴奏として、独特の節をつけて歌う部分と、「啖呵（たんか）」と呼ばれる語り部分を1人で口演する演芸。「浪花節（なにわぶし）」とも呼ばれる。節は物語や登場人物の心情を歌詞にしており、啖呵は登場人物を演じてセリフを話す。明治時代に寄席芸となって発展。落語、講談と並ぶ日本三大話芸として、庶民に愛された。\u003C\u002Fp>",{"fieldId":29,"name":42,"pict-id":43,"body":44,"svg-pict":45},"漫才","c_manzai","\u003Cp style=\"text-align:justify\">軽妙かつ滑稽なトークの掛け合いをして、観客を楽しませる話芸。主に2人組であることが多く、ツッコミとボケの担当に分かれ、言葉遣いや言い回し、間の取り方、身振り手振りをメインとして話術のみで笑いを取るのが特徴。元々は正月を彩る祝福芸だったが変遷を経て、大正末期から昭和初期に現在の会話重視のスタイルが定着した。\u003C\u002Fp>","\n",{"fieldId":29,"name":47,"pict-id":48,"body":49},"太神楽","c_daikagura","\u003Cp>主に獅子舞をはじめとする「舞」と、品玉\u003Csup>＊\u003C\u002Fsup>や曲鞠\u003Csup>＊\u003C\u002Fsup>、皿回しなどの「曲」から成る演技。傘を回しながら「おめでとうございま～す」の掛け声で一世を風靡した、海老一染之助・染太郎の曲芸が代表例。元来は、神職が各地を回って獅子舞などを演じる神事芸能だったが、余興部分の曲芸が次第に盛んになり、江戸時代末から寄席芸能として人気を集めた。\u003Cbr>\u003Cspan style=\"font-size: 0.75em\">＊品玉：手玉や短刀などを空中に投げ上げて、巧みに受け止める曲芸。　\u003C\u002Fspan>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cspan style=\"font-size: 0.75em\">＊曲鞠：きょくまり。まりを使う曲芸。\u003C\u002Fspan>\u003C\u002Fp>",{"fieldId":29,"name":51,"pict-id":52,"body":53},"奇術　","c_kijutsu","\u003Cp style=\"text-align:justify\">種や仕掛けを用いて、観客を惑わし、楽しませる伝統芸能。マジックとも呼ばれ、そのルーツは奈良時代の散楽までさかのぼる。大規模な装置を使うものから、細かな道具を使って手先のテクニックを見せるものまで種類はさまざま。話術や観客のやりとりも含めて、楽しませることが多い。江戸時代には、稲妻のごとく手を素早く動かすことから「手妻（てづま）」とも呼ばれた。\u003C\u002Fp>",{"fieldId":29,"name":55,"pict-id":56,"body":57},"紙切り","c_kamikiri","\u003Cp style=\"text-align:justify\">観客のリクエストに応じて、鋏（はさみ）を使い下地のない紙から、即興でさまざまな絵柄を切り出す伝統的な演芸。歴史は古く、江戸時代の宴席で始まったとされる。切っている間は、観客と対話しながら喋り続けることが多く、話術も求められる。作品は観客にプレゼントされるのが慣例で、参加型の演芸といえる。\u003C\u002Fp>",{"fieldId":29,"name":59,"pict-id":60,"body":61},"ものまね ","c_monomane","\u003Cp style=\"text-align:justify\">人や動物などの声や話し方、歌い方、音、仕草、身振りなどを模写する演芸。江戸時代後期に、有名人ものまねの先駆けとなる歌舞伎役者の声をまねる「声色遣い（こわいろづかい）」が発展、芸として確立された。また江戸時代から、歴代の江戸家猫八で知られる「動物の鳴きまね」という分野もあり、洗練された演芸として寄席で親しまれている。\u003C\u002Fp>",{"fieldId":29,"name":63,"pict-id":64,"body":65},"コント　","c_konto","\u003Cp style=\"text-align:justify\">滑稽な寸劇（短い芝居）のことで、いわば喜劇のコンパクト版。フランス語で「短い物語・童話・寸劇」を意味する「conte」に由来する。会話重視の漫才に対して、場面やキャラクター設定があり、演者はその人物になり切って芝居を演じるのが特徴。セットを組んだり、化粧や衣装を着たり、小道具や音響を使ったり、様々なものを駆使して笑いを生み出す。\u003C\u002Fp>",{"fieldId":21,"content":67,"images":68,"layout":24},"\u003Cp style=\"text-align:justify\">参考文献\u003C\u002Fp>\u003Cp style=\"text-align:justify\">・コトバンク\u003C\u002Fp>\u003Cp style=\"text-align:justify\">・「落語ハンドブック（第3版）」三省堂　山本進編\u003C\u002Fp>\u003Cp style=\"text-align:justify\">・「日本の伝統芸能を楽しむ 落語・寄席芸」偕成社　大友浩\u003C\u002Fp>",[],{"fieldId":70,"relation":71,"type":126},"lang",{"id":72,"createdAt":73,"updatedAt":74,"publishedAt":7,"revisedAt":74,"title":75,"tags":76,"cover":77,"contents":80,"lang":117,"categories":121,"category":124,"pickup":125},"xomjlclsz961","2022-06-14T10:42:36.667Z","2026-08-05T04:47:56.387Z","#03 TRADITIONAL JAPANESE ENTERTAINMENT",[10],{"fieldId":12,"description":78,"image":79},"Each edition of EJP Newsletter will include a special column in which the motifs depicted by PICTOGRAMS are explored in a little more depth to give you further insight into the multifaceted charms of Japan. The third edition features engei, a traditional form of Japanese entertainment.(Photos are posted with permission from Shinjuku Suehirotei)",{"url":15,"height":16,"width":17},[81,84,87,90,93,96,99,102,105,108,111,114],{"fieldId":21,"content":82,"images":83,"layout":24},"\u003Cp style=\"text-align:justify\">\u003Cstrong>Origin of comedy in Japan\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">Japanese TV stations and Internet video services broadcast a wide spectrum of comedy shows and dramas catered to people of all ages from \u003Cem>manzai \u003C\u002Fem>and comedy skits to impersonations to \u003Cem>rakugo\u003C\u002Fem> and \u003Cem>ogiri\u003C\u002Fem>(where professional rakugo storytellers use word play to comedic effect). These have been indispensable forms of entertainment for Japanese households for many years. Art forms like these performed in front of a crowd are called engei in Japan, which in its broad sense includes theatrical, dancing, and singing performances, but in its narrow sense refers to traditional vaudeville shows, such as rakugo and manzai, performed in engei\u003Cem> \u003C\u002Fem>halls（or \u003Cem>yose\u003C\u002Fem>）for the common people.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">What kinds of entertainment did people enjoy in ancient times? Japanese love of comedy is said to date back as far as 1,400 years ago when a variety of performance arts, such as juggling, acrobatics, and buffoonery, called \u003Cem>sangaku\u003C\u002Fem> were introduced from China. Sangaku in those days was similar to our modern-day circus. It entertained people with fire breathing, sword swallowing, mimicking of fish in water, and so on. and thus was also called \u003Cem>hyaku-gi\u003C\u002Fem> (百戯, one hundred entertainments) or \u003Cem>zatsu-gi\u003C\u002Fem> (雑技, variety arts).\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cbr>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>From Sangaku to Kyogen—the oldest comedy in Japan\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">Sangaku from China became popular particularly among aristocrats in the Nara period (CE 710 to 794) due partially to its novelty. According to historical records, sangaku enjoyed protection by the imperial court along with \u003Cem>gagaku\u003C\u002Fem> (Japanese imperial court dance and music) and was performed at the eye-opening ceremony of the Great Buddha of Nara in 752.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">However, after being released from imperial protection, sangaku chose the path of popularity by performing freely on the street for the commoners. It gradually mingled with indigenous traditions and developed into an art form called \u003Cem>sarugaku\u003C\u002Fem> (猿楽, literally monkey music), which further evolved into Noh (a theatrical art form of sophisticated dance and song) and \u003Cem>kyogen\u003C\u002Fem> (a spoken theater that inherited comical elements from sarugaku). Kyogen that comically depicted the everyday lives of ordinary people is said to be the first art of laughter established in Japan. This influenced kabuki and other subsequent forms of entertainment.\u003C\u002Fp>\u003Cp>\u003Cimg src=\"https:\u002F\u002Fimages.microcms-assets.io\u002Fassets\u002F2c0ba8b07d854880913290757619e5ca\u002Ff2f1251f8ff94a0a86f747419044ea7b\u002F001.jpg\" alt=\"\">\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>Dawn of storytelling art—the emergence of otogishu\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">During the Edo period, kyogen became a refined art of laughter for the upper class after being officially designated as \u003Cem>shikigaku\u003C\u002Fem> (ceremonial dance and music) and bestowed the patronage of the Tokugawa shogunate. Meanwhile, separate branches of entertainment for commoners began to emerge—namely, rakugo and kodan storytelling.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">The roots of these storytelling arts can be found in the profession known as \u003Cem>otogishu\u003C\u002Fem> that played an active role during the Sengoku period (Warring States period). Otogishu were scholars, tea ceremony masters, and other persons of wisdom hired by daimyo (territorial lords), such as Takeda Shingen and Oda Nobunaga, as conversation partners to broaden their knowledge and perspectives and relieve the stress of prolonged wars. In an effort not to bore the daimyo, otogishu told stories full of wit and humor (known as \u003Cem>kokkei banashi\u003C\u002Fem>).\u003C\u002Fp>\u003Cp style=\"text-align:justify\">Two of the most renowned otogishu were Anrakuan Sakuden, a Buddhist priest and an advisor to Toyotomi Hideyoshi, and Akamatsu Hoin, who served Tokugawa Ieyasu. Sakuden was the author of \u003Cem>Seisuisho\u003C\u002Fem> (醒睡笑, Laughs to Wake You Up), a collection of humorous anecdotes considered to be the origins of many rakugo stories that are still performed today. Hence, he is known as the founder of rakugo. In contrast, Hoin told epic military tales (\u003Cem>gunki\u003C\u002Fem>) like \u003Cem>Taihei Ki\u003C\u002Fem>(The Record of Great Peace) and \u003Cem>Genpei Seisui Ki\u003C\u002Fem> (The Rise and Fall of the Minamoto and the Heike) and is revered as the father of kodan.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cbr>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>Rakugo sprouted simultaneously in three cities\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">In the subsequent and peaceful Edo period, otogishu lost their role as advisors to war lords. Some therefore began entertaining people on the street with kokkei banashi and gunki tales in exchange for compensation. Stories thus told on the street became known as \u003Cem>tsujibanashi. \u003C\u002Fem>Tsuyuno Gorobe in Kyoto and Yonezawa Hikohachi in Osaka, the two most famous tsujibanashi\u003Cem> \u003C\u002Fem>storytellers, emerged at almost the same time and gained popularity, leading them to be called the founders of Kamigata rakugo (Kamigata being the area encompassing Kyoto and Osaka). Meanwhile in Edo (old Tokyo), Shikano Buzaemon, the founder of Edo raguko, began indoor storytelling (\u003Cem>zashiki-banashi\u003C\u002Fem>) at the invitation of various families and built a simple hut to tell funny stories to the general public for a price.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">While Kamigata rakugo originates in street performance, Edo rakugo\u003Cem> \u003C\u002Fem>evolved from indoor storytelling in tatami-mat parlors called \u003Cem>zashiki\u003C\u002Fem>. The difference in origin between the two can be seen in the use of \u003Cem>kendai\u003C\u002Fem> (a small table set) and \u003Cem>hyoshigi\u003C\u002Fem> (wooden clappers) in Kamigata rakugo. Since early-day Kamigata rakugo performers told stories mostly on the street, they had to make loud sounds and use exaggerated gestures to draw the attention of passersby. Edo rakugo performers, on the other hand, performed their pieces in zashiki, which enabled them to concentrate on telling stories with details and subtleties to an attentive audience.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cimg src=\"https:\u002F\u002Fimages.microcms-assets.io\u002Fassets\u002F2c0ba8b07d854880913290757619e5ca\u002Fe6b26df427804dfa91c6f450731b95ac\u002F02.jpg\" alt=\"\">\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>Birth of yose\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">Rakugo performances, which were given outdoors or in private homes in the early days, began being offered to the general public for a fee inside dedicated structures called yose in the late 18\u003Csup>th\u003C\u002Fsup> century. The term is derived from the verb \u003Cem>yoseru\u003C\u002Fem> (to attract lots of people). The simple huts where engei\u003Cem> \u003C\u002Fem>was performed were initially called \u003Cem>yose-ba\u003C\u002Fem> (place) or \u003Cem>yose-seki\u003C\u002Fem> (seats), which were gradually and eventually shortened to the term yose.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">While kabuki was also a popular entertainment around that time, it was a bit too luxurious for most commoners. Rakugo yose, on the other hand, was available for the price of a bowl of soba noodles sold by street vendors and thus gained great popularity mainly in Edo and Osaka. By the late Edo period, there were said to be a few hundred yose theatres in Edo alone.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cimg src=\"https:\u002F\u002Fimages.microcms-assets.io\u002Fassets\u002F2c0ba8b07d854880913290757619e5ca\u002F853241e275d24ab08df9c1916bfda9ed\u002F03.jpg\" alt=\"\">\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>Yose made more colorful by iromono\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">Rakugo and kodan were the main acts performed at most yose, where music, acrobatics, magic tricks, and various other forms of entertainment were also exhibited as a change of mood during the intermission. They were called \u003Cem>iromono\u003C\u002Fem> (\u003Cem>iro\u003C\u002Fem> meaning color), as they added color to the program lineup. If you look at a program list posted at a modern yose, you will notice that rakugo and kodan are written in black while iromono are marked in red. The difference in color is rooted in this history. The now very popular manzai (comic dialogue) was also one example of\u003Cem> \u003C\u002Fem>iromono.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cimg src=\"https:\u002F\u002Fimages.microcms-assets.io\u002Fassets\u002F2c0ba8b07d854880913290757619e5ca\u002Fa469472a9362421b9bab3ab205245e77\u002F04.jpg\" alt=\"\">\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>The unbeknownst roots of manzai\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">Manzai (漫才), which began as an example of iromono, did not initially use the style we know today. It is said to originate in \u003Cem>manzai \u003C\u002Fem>(written in different kanji, 萬歳), a traditional art of speech and song\u002Fdance for the New Year celebration performed to wish for prosperity and longevity from the Heian period about 1,000 years ago. Ancient manzai\u003Cem> \u003C\u002Fem>was generally composed of a pair of performers called Tayu and Saizo, who went from door to door. Tayu would sing festive songs while dancing with a fan, and Saizo would chiming in with silly remarks using a small hand drum. These remarks were then corrected by Tayu, very much like the exchanges between \u003Cem>tsukkomi\u003C\u002Fem>(straight man) and \u003Cem>boké\u003C\u002Fem> (funny man) of modern-day manzai.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cbr>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>From manzai (萬歳) to manzai (万才) to manzai (漫才)\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">It was after the beginning of the Meiji era when the ancient form of manzai for New Year’s celebration took the turn toward entertaining the populous. Some of the early manzai entertainers included Tamagoya Entatsu, a chorus leader of \u003Cem>goshu ondo\u003C\u002Fem> (a traditional Japanese dance song) who gained much popularity by performing goshu ondo on stage that integrated the exchange between Tayu and Saizo. Such dance\u002Fsong performances mixed with the comical elements of manzai (萬歳) were called manzai (万才) until a revolutionary duo, Yokoyama Entatsu & Achako, burst onto the scene in the early Showa era. They made people laugh just by talking without singing or dancing and established a talk-show-style manzai\u003Cem>(shabekuri manzai)\u003C\u002Fem> that became mainstream among the succeeding generations of manzai entertainers. Various kanji characters used for manzai were unified into 漫才 around this time.\u003Cem> \u003C\u002Fem>Manzai has become the main acts of yose, especially in Osaka following the establishment of Yoshimoto Kogyo (a major agency for comedians).\u003C\u002Fp>\u003Cp>\u003Cbr>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cstrong>How to enjoy engei today\u003C\u002Fstrong>\u003C\u002Fp>\u003Cp style=\"text-align:justify\">Before WWII, there were over 100 yose theatres in Tokyo alone, most of which disappeared one by one with the diversification of entertainment and the diffusion of movies and TV programs. Nevertheless, a few dozen engei halls survived the change of times in different parts of Japan, including Suzumoto Engei Hall in Ueno, Suehirotei in Shinshuku, and Namba Grand Kagetsu (NGK), or the Palace of Laughter, in Osaka, where you can enjoy a variety of traditional and contemporary engei. On your next holiday, try visiting one of these venues and see the performers of various colors live on stage and experience the essence of Japanese culture for yourself.\u003C\u002Fp>\u003Cp>\u003Cimg src=\"https:\u002F\u002Fimages.microcms-assets.io\u002Fassets\u002F2c0ba8b07d854880913290757619e5ca\u002F97b6c7e40f6a4f4897dfc95259b0ba2f\u002F%E3%82%A2%E3%83%BC%E3%83%88%E3%83%9B%E3%82%99%E3%83%BC%E3%83%88%E3%82%99%206.jpg\" alt=\"\">\u003C\u002Fp>",[],{"fieldId":21,"heading":85,"images":86,"layout":24},"Different Types of Shinkansen Trains in Japan ",[],{"fieldId":29,"name":88,"pict-id":31,"body":89},"RAKUGO","\u003Cp style=\"text-align:justify\">\u003Cem>Rakugo\u003C\u002Fem>, one of Japan’s traditional storytelling arts, dates back to the Edo period and remains popular today. The performer sits on stage and tells comical stories that end with a narrative stunt (punch line) known as \u003Cem>ochi \u003C\u002Fem>or \u003Cem>sage\u003C\u002Fem>. A single storyteller portrays many different characters by using different voices and gestures. Broadly speaking, there are two major places of origin for rakugo, one being Edo (present-day Tokyo) where stories were told indoors (in tatami-mat parlors called \u003Cem>zashiki\u003C\u002Fem>) and the other Kamigata (the present-day Osaka\u002FKyoto area) where performances took place initially outdoors. Today, rakugo continues to attract new fans by offering new styles of rakugo performances in mini-theatres, etc. Ritsu, an avid visitor to rakugo shows, is never bored even though he knows exactly how the stories unfold and end because they are told differently each time by different performers—very much like classical songs that are still appreciated today.\u003C\u002Fp>\u003Cp>\u003Cbr>\u003C\u002Fp>",{"fieldId":29,"name":91,"pict-id":35,"body":92},"KODAN","\u003Cp style=\"text-align:justify\">\u003Cem>Kodan\u003C\u002Fem> is another form of traditional storytelling with a history of over 500 years. Unlike rakugo, whose stories consist mainly of conversations between characters, most kodan stories depict warlords or other well-known historical figures. A kodan\u003Cem> \u003C\u002Fem>performer sits in front of a pedestal called a \u003Cem>shakudai\u003C\u002Fem> and reads out stories while tapping the shakudai with a paper fan (\u003Cem>hariogi\u003C\u002Fem>) to keep performer’s rhythm going. \u003Cem>Kodanbon\u003C\u002Fem> (books containing kodan stories) became very popular during the Meiji era. Among the publishers of kodanbon was Kodansha Ltd., a major publishing company today that earned its present position with the success of kodanbon.\u003C\u002Fp>\u003Cp>\u003Cbr>\u003C\u002Fp>",{"fieldId":29,"name":94,"pict-id":39,"body":95},"ROKYOKU","\u003Cp style=\"text-align:justify\">\u003Cem>Rokyoku\u003C\u002Fem> is a genre of narrative singing accompanied by the \u003Cem>shamisen\u003C\u002Fem>(three-stringed lute) also known as \u003Cem>naniwa-bushi\u003C\u002Fem>. A rokyoku artist tells a variety of stories filled with drama and emotions in distinctive \u003Cem>fushi\u003C\u002Fem> (verses) and \u003Cem>tanka\u003C\u002Fem> (story lines) in perfect sync with ever-changing shamisen melodies. Rokyoku began originally as a street performance but later developed into \u003Cem>yose-gei\u003C\u002Fem> (vaudeville art) and became one of the three major traditional storytelling arts of Japan along with rakugo and kodan\u003Cem>. \u003C\u002Fem>Have you ever heard of a contemporary rokyoku singer named Takeharu Kunimoto? He sang rock and ballad songs with the shamisen. His early death was a huge loss to his fans and the music world.\u003C\u002Fp>\u003Cp>\u003Cbr>\u003C\u002Fp>",{"fieldId":29,"name":97,"pict-id":43,"body":98},"MANZAI","\u003Cp style=\"text-align:justify\">\u003Cem>Manzai\u003C\u002Fem> is a traditional style of comedy usually involving two performers—a straight man (\u003Cem>tsukkomi\u003C\u002Fem>) and a funny man (\u003Cem>boké\u003C\u002Fem>) exchanging jokes in a variety of tempos with unique words and gestures. The M-1 Grand Prix, the most prominent manzai competition in Japan, is held annually around New Year’s Eve. Which duo will win the Grand Prix and grab a chance at stardom this year? Thousands of aspiring manzai performers are honing their skills as we speak to make more people laugh than their competitors.\u003C\u002Fp>\u003Cp>\u003Cbr>\u003C\u002Fp>",{"fieldId":29,"name":100,"pict-id":48,"body":101},"DAIKAGURA","\u003Cp style=\"text-align:justify\">\u003Cem>Daikagura\u003C\u002Fem> is a lineup of dance and other eye-catching numbers, such as \u003Cem>shishimai \u003C\u002Fem>lion dances, \u003Cem>shinadama\u003C\u002Fem>\u003Csup>\u003Cem>*1\u003C\u002Fem>\u003C\u002Fsup>\u003Cem>,kyokumari\u003C\u002Fem>\u003Csup>\u003Cem>*2\u003C\u002Fem>\u003C\u002Fsup>\u003Cem>,\u003C\u002Fem>and plate spinning. Originally, daikagura was performed by the Shinto priests of Ise Jingu and Atsuta Jingu shrines who traveled around to offer sacred lion dances to ward off evil spirits and bring good fortune. Gradually, entertaining elements came to the fore and gained popularity as yose-gei (vaudeville shows) by the end of the Edo period. Until recently, on New Year’s day, typical Japanese households used to watch on TV the famous brother duo Somenosuke and Sometaro Ebiichi spinning a ball and other colorful objects on a traditional Japanese umbrella while calling out festively “\u003Cem>Omedeto Gozaimasu!\u003C\u002Fem> (Happy New Year!)” Sadly, both masters are now gone. Japanese New Year has not been the same without them.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">*1 Shinadama: juggling of balls, knives, etc.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">*2 Kyokumari: ball acrobatics\u003C\u002Fp>\u003Cp>\u003Cbr>\u003C\u002Fp>",{"fieldId":29,"name":103,"pict-id":52,"body":104},"KIJUTSU","\u003Cp style=\"text-align:justify\">\u003Cem>Kijutsu\u003C\u002Fem> is a traditional Japanese magic performance that entertains audience with tricks, effects, and illusions. Its origin can be traced to \u003Cem>sangaku \u003C\u002Fem>(various entertainments) from the Nara period. Kijutsu\u003Cem> \u003C\u002Fem>uses a variety of tools from large-scale stage sets to small gadgets for sleight-of-hand manipulations. Kijutsu performers (\u003Cem>kijutsu-shi\u003C\u002Fem>) are eager to entertain not only by showing tricks but also with stylized movements not seen in Western magic and by engaging the audience in enlivening conversations. In an attempt to see through the tricks, Ritsu has been staring at the kijutsu-shi’s\u003Cem> \u003C\u002Fem>hands as hard as he could but to no avail. His moves are as fast as lightning—no wonder kijutsu was also called \u003Cem>tezuma\u003C\u002Fem> (hand lightning) in the old days.\u003C\u002Fp>\u003Cp>\u003Cbr>\u003C\u002Fp>",{"fieldId":29,"name":106,"pict-id":56,"body":107},"KAMIKIRI","\u003Cp style=\"text-align:justify\">\u003Cem>Kamikiri\u003C\u002Fem> is the traditional improvisational art of papercutting. The performer solicits suggestions from the audience and quickly cuts a blank sheet of paper with scissors to create the suggested image or figure. Kamikiri\u003Cem> \u003C\u002Fem>is said to have started as a party stunt during the Edo period. Kamikiri artists possess great verbal skills because they keep talking to themselves or with the audience while cutting the paper. The finished work is usually offered as a gift to the person in the audience who gave the suggestion. Because of this rare exchange, kamikiri\u003Cem> \u003C\u002Fem>can engage an audience beyond words and is highly recognized and appreciated in different parts of the world, although it is not nearly as widely known as anime or\u003Cem> \u003C\u002Fem>manga.\u003C\u002Fp>\u003Cp>\u003Cbr>\u003C\u002Fp>",{"fieldId":29,"name":109,"pict-id":60,"body":110},"MONOMANE","\u003Cp style=\"text-align:justify\">\u003Cem>Monomane\u003C\u002Fem> is the art of mimicry. Monomane artists mimic the voices and gestures of different animals, renowned personalities, etc. It is said to originate in \u003Cem>kowairo-zukai\u003C\u002Fem>(performers who impersonated the voices of Kabuki stars) and established itself as an art form in the late Edo period. \u003Cem>Nakimane\u003C\u002Fem>, a genre of monomane that mimics animal sounds, was also popular during the Edo period. Today, Edoya Nekohachi, a fifth generation animal mimicry artist, keeps this unique and refined art form alive. Ritsu was able to overturn his reputation as a crybaby by impersonating his classroom teacher perfectly. He is now regarded a hero.\u003C\u002Fp>\u003Cp>\u003Cbr>\u003C\u002Fp>",{"fieldId":29,"name":112,"pict-id":64,"body":113},"KONTO","\u003Cp style=\"text-align:justify\">\u003Cem>Konto \u003C\u002Fem>refers to a short comedy sketch in Japan. The word is derived from the French word \u003Cem>conte\u003C\u002Fem> meaning a tale or fable. Unlike manzai, which mostly consists of dialogues between two performers, konto is a drama that takes place based around a certain situation, where characters in costume and makeup play their respective roles. Konto often uses stage sets, props, background music, sound effects, and just about anything else to entertain audiences. TV konto series, such as the legendary \u003Cem>Hachi-ji dayo! Zen’in shugo\u003C\u002Fem>(It’s 8 o’clock! Everyone come together) and \u003Cem>Ore-tachi hyokin-zoku\u003C\u002Fem>(We are the silly ones), were at their prime during the 1970s and early 1980s. Aiko’s father, an avid lover of comedy, takes pride in the fact that he grew up watching these programs in real time.\u003C\u002Fp>\u003Cp>\u003Cbr>\u003C\u002Fp>",{"fieldId":21,"content":115,"images":116,"layout":24},"\u003Cp style=\"text-align:justify\">References (in Japanese)\u003C\u002Fp>\u003Cp style=\"text-align:justify\">・Kotobank\u003C\u002Fp>\u003Cp style=\"text-align:justify\">・Yamamoto, Susumu. \u003Cem>Rakugo Handbook, 3\u003C\u002Fem>\u003Csup>\u003Cem>rd\u003C\u002Fem>\u003C\u002Fsup>\u003Cem> edition\u003C\u002Fem>. Sanseido.\u003C\u002Fp>\u003Cp style=\"text-align:justify\">・Otomo, Hiroshi. \u003Cem>Enjoying Japanese Traditional Entertainment, Raguko and Yose-gei.\u003C\u002Fem> Kaisei-sha\u003C\u002Fp>\u003Cp style=\"text-align:justify\">\u003Cbr>\u003C\u002Fp>",[],{"fieldId":70,"relation":118,"type":119},{"id":4},[120],"英語",[122,123],"journals","columns",[123],true,[],[122,123],[123],1785929472748]