Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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SHIBAI JAYA • 351

increasingly sophisticated. I n 1757, the ﬁrst treatise on shamisen

playing was published. Although into the 1760s the music for a play

was the creation of the chanter, shamisen players gradually took over

this responsibility, beginning with the contributions of Tsuruzawa

Bunzo

(?–1807), whose stardom helped the musicians rise in the

company hierarchy. Now, says C. Andrew Gerstle, ‘‘the sham isen

invaded the text and began to independently express the essence of

the words along with the chanter’s voice’’ (1990, 115). By the late

19th centur y, a shamisen player, Toyozawa Danpei II,wasso

admired for his skill and creativity that he became troupe leader

(monshita), a position typically held by chanters.

While the gidayu

chanter always has a script before him, even if

he knows the text by heart, the shamisen player uses no score, having

learned his musical repertoire entirely by rote, which requires a pro-

digious memory. His task, says A. C. Scott (1963, 47) ‘‘is to accom-

pany and underline the expression of the narrator [chanter], regulate

the timing of the puppets’ movements, and convey mood and atmo-

sphere to the audience. . . .’’ He is considered the conductor of the

performance and is often referred to as the ‘‘wife’’ of the chanter,

whose performance he so deftly controls.

SHAMOJI. A kabuki stage device, reminiscent of a ‘‘ladle,’’ used to

make actors playing ghosts or spirits seem to be gliding on air. It

consists of a small, wheeled platform attached to a long wooden bar

that moves it into position. Examples appear in To

kaido

Yotsuya Kai-

dan, Sagi Musume, and Kyo

Ningyo

SHIBAI. This word, often used as a synonym for kabuki, or even the-

atre in general, is a reminder of when audiences would ‘‘sit on the

grass’’ to watch all sorts of outdoors performances, including sumo.

In the Edo period, theatres were called shibai goya (‘‘theatre stall’’).

Among common expressions using shibai are kabuki shibai (’’kabuki

theatre’’), ningyo

shibai (‘‘puppet theatre’’), shibai-e (‘‘theatre pic-

tures’’), and shibai jaya (‘‘theatre teahouses’’).

SHIBAI JAYA. The ‘‘theatre teahouses’’ that served kabuki playhouses

as restaurants and lounges from the Edo period through the 1920s.

They served food and drink, acted as ticket agents, and provided the-

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352 • SHIBAI MACHI

atregoers with par ty facilities. The long intermissions made them

extremely popular resor ts, especially those abutting the theatre on

either side, to which patrons seated in the side sajiki could easily

repair. By 1697, Osaka had 58 and that number increased consider-

ably in the 17th century. Edo, in 1714, had 16 in one theatre street

and 50 in its two others, but the Ejima Ikushima incident of that

year established a prohibition against renting out private rooms to

playgoers. Actors and their guests still met in the teahouses, but their

behavior was scrutinized for propriety. There were about 150 Edo

theatre teahouses by the early 19th century, but the numbers declined

during the Meiji era. The introduction of Western ticket-selling meth-

ods at the Teikoku Gekijo

in 1911 also hurt teahouse business, as

did the appearance of actual ticket agencies.

SHIBAI MACHI. Edo-period bunraku and kabuki theatres were

allowed to produce only in these designated ‘‘theatre districts,’’

regardless of the city, the purpose being to make easier the govern-

ment’s job of supervising their activities and to help prevent the dan-

ger of ﬁre from spreading. At cer tain times, theatre personnel,

including the stars, had to live within Shijo

district, near the Kamo

River, the main theatre locale of Kyoto; Do

tonbori was the chief the-

atre district of Osaka; and, during the Edo period, Edo’s chief theatre

areas—all near one another—were Sakai-cho

, Fukuya-cho

, and Kob-

iki-cho

. In 1841, the Tenpo

reforms moved Edo’s theatres to Saru-

waka-cho

in the outlying Asakusa section. They remained there until

the early Meiji period when, starting with the Shintomi-za (see

MORITA-ZA) in 1872, kabuki playhouses began to migrate back to

more central sections of Tokyo.

SHIBYO

SHI. The four instruments of no

music: fue, taiko, kotsu-

zumi, and o

tsuzumi.

SHICHIGOCHO

. The standard ‘‘seven-ﬁve syllable meter’’ of height-

ened theatrical dialogue. See also LANGUAGE.

SHICHISAN. A location on the hanamichi called ‘‘seven-three’’

because it is three-tenths of the distance from the stage to the rear of

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SHIGUSA • 353

the runway. Highlight moments of acting occur here during entrances

(deba) and exits (hikkomi). The suppon trap is located here.

SHIDAI. A no

sho

dan consisting of a three-line chanted passage of

shichigocho

(although the third line may be in seven-four meter), in

congruent rhythm, performed in most cases by the shite, waki,or

tsure after entering to the similarly named shidai music, which con-

sists of quiet music played by fue, kotsuzumi, and o

tsuzumi.Itmay

also be chanted by the actor or jiutai prior to a kuri, sashi,orkuse

sequence. When a solo entering actor performs it, he stops at the

za and chants while facing the kagami ita, but when a group enters,

they face each other on the stage proper to chant it. After the shidai

is chanted, the second line is repeated in a low tone by the jiutai in

noncongruent rhythm. This is called jidori.

SHIGAYAMA RYU

. The oldest school of kabuki buyo

(see BUYO

RYU

HA), founded by 17th-century Edo choreographer (furitsukeshi;

see FURITSUKE) Shigayama Mansaku II, and long associated with

the Nakamura-za. The family line produced nine theatre-connected

male iemoto before being taken over by a succession of women and

losing its theatrical relationship. The acting line of Nakamura

Nakazo

provided the representative Shigayama performers, espe-

cially Nakazo

I, the ﬁrst tachiyaku to break the stronghold of onna-

gata on kabuki dance.

SHIJIMA

GOTO

. Of the four principal catego ries of no

sho

dan, the

one devoted to ‘‘silent pieces,’’ where nothing is said and no music

is played. These include su no de, su no nakairi, and su no monogi.

The ﬁrst is for silent entrances, the second for silent exits, and the

last for silent onstage costume changes. See also HAYASHIGOTO;

KATARIGOTO; UTAIGOTO.

SHIGUSA. The innate movements and gestures of kabuki acting. It is

related to shina (‘‘quality’’) and konashi (‘‘carriage’’), differing from

them in being unconscious rather than the product of speciﬁc

choices. It therefore implies personal characteristics outside the

actor’s ability to manipulate them. See also FURI; NIN.

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354 • SHIKADO

SHIKADO

. The True Path to the Flower, a 1420 secret treatise (hiden)

by Zeami, written in ﬁve brief sections:

• ‘‘Two Basic Arts, three Role Types’’: the actor must learn the

importance of mastering nikyoku and santai;

• ‘‘An Art That Remains External’’: the actor cannot be a master

unless he exceeds mere imitation and internalizes his art;

• ‘‘Perfect Freedom’’: the master actor can use even unorthodox

or impure approaches within his art, but the beginning actor imi-

tates such artistry only at his peril because he lacks the master’s

artistic maturity;

• ‘‘Skin, Flesh, and Bone’’: the basic elements of no

ar tistry,

although few if any possess them all: skin (i.e., Sight)—beautiful

stage appearance, combining bone and ﬂesh; bone (i.e., Heart)—

inborn ability; ﬂesh (i.e., Sound)—mastery of song and dance;

and

• ‘‘Substance and Function’’: if, for example, hana is the sub-

stance and its fragrance the function, the actor must grasp the

substance of no

and let the function emerge of itself; actors too

often try to imitate the function, which is impossible because it

does not exist independently.

SHIKAKE. Special-effect stage de vice s, in cludin g properties, sce-

nery, wigs, and costumes. Thus, there are props that really break

when necessary, and those that simply look as if they are breaking.

Special-effects prop masters also create effects to make peop le or

birds ﬂy (chu

nori), or to make animals like snakes move, decapitated

heads and ﬁsh on platters come to l ife, crabs to crawl, arrows to

pierce characters’ heads, toads to transform into humans, faces and

limbs to get lopped off, plants to wither, etc. Scener y also can

employ shikake effects, as when houses collapse (ya tai kuz ushi ).

Among interesting techniques are the butsudan-gaeshi, hashi bako,

and shamoji, seen in kaidan mono like To

kaido

Yotsuya Kaidan. See

also BUKKAERI; GANDO

GAESHI; GATTARI; HAYAGAWARI; HIKI

GU; HIKINUKI; KEREN; TOIT

GAESHI.

SHIKATA JO

RURI. A performance in which a single artist performs

ruri while both playing the shamisen and chanting the text.

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SHIKIRIBA • 355

SHIKE. The casual strands of hair hanging loosely near the ears on the

wigs of certain men and women in bunraku and kabuki. One can tell

from their arrangement something about the character’s state of

mind, including his or her romantic nature, fear, or nervousness.

SHIKIGAKU. No

’s designation as the ‘‘ceremonial art’’ or ‘‘ritual the-

atre’’ of the Tokugawa shogunate. The standard explanation of shiki-

gaku holds that the concept came into being from the fourth month

of 1603, when no

was performed at Kyoto’s Nijo

Castle in honor

of Tokugawa Ieyasu’s becoming shogun; subsequently, a ceremonial

performance featuring all schools of no

became regular whenever a

new shogun took ofﬁce. Moreover, from 1626, when Emperor Go-

mizu no o viewed no

at Nijo

Castle, no

was often seen at imperial

banquets. In 1613, no

began t o be performed at ofﬁcial religious

events sponsored by the shogunate. These performances resulted, it

is said, in no

being recognized as the ceremonial art of the regime,

which also involved its active cultivation by the warrior class.

Approximately 350 actors received government protection; they

were even elevated to samurai status. No

produced no outstanding

plays during this period, but its artistic qualities were placed on the

highest level, which enabled it to survive the downfall of the regime.

The ﬁnal ofﬁcial performance of no

for the shogun was in 1658; it

was attended by the English envoy, Sir Ernest Satow.

This background gave rise to the widespread belief that, under the

auspices of ofﬁcial supervision, no

was formalized and regulated to

the point that it became a ‘‘ritual theatre.’’ In The Ethos of Noh, how-

ever, Eric Rath argues that this ritualization is a myth, noting, among

other things, the absence of the word ‘‘shikigaku’’ in Edo-period doc-

uments. He demonstrates how the concept of ritual theatre was cre-

ated during the Meiji period through the concerted efforts of various

individuals and agencies in order to establish no

as a form that served

nationalistic and militaristic goals.

SHIKIRIBA. A managerial ofﬁce that looked after a kabuki theatre’s

affairs and also sold tickets to the kiriotoshi section. It lasted into the

Meiji era. In Kamigata, it was the kanjo

ba. It was a small, slightly

raised room found between the nezumi kido to the left of the the-

atre’s facade and the entrance to the stage right sajiki. Its employees

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356 • SHIMABARA KYO

GEN

were responsible for setting up the tsumi mono displays (see also

HIIKI), and decorating the ceremonial palanquin used during ﬁfth-

month Soga Festivals, etc. Today’s equivalent is the gekijo

jimusho

(‘‘theatre ofﬁce’’), which mainly looks after publicity matters, but

also oversees the perishable food and beverage used as kabuki prop-

erties, the kamishimo worn by the musicians, etc. See also KO

GYO

SHIMABARA KYO

GEN. Also shimabara kabuki,orsimplyshima-

bara, this refers to two things: ﬁrst, performances by the prostitutes

of Kyoto’s Shimabara brothel district during the time of yu

jo kabuki,

used to publicize the actresses’ charms; second, a kind of kabuki play

that arose in the third quarter of the century in which, while reﬂecting

contemporary customs, such as homosexuality (shudo

goto) and mar-

tial arts (budo

goto), the stage served as a guide to Shimabara with

themes about keiseigai, i.e., the purchasing or ransoming of prosti-

tutes. ‘‘Shimabara’’ often appeared in the plays’ titles.

Much as in the chaya asobi no odori (‘‘visit-to-the-teahouse

dances’’) of Izumo no Okuni, where young men sought sexual

encounters at teahouse-brothels, the hero would go visit a teahouse

and engage in repartee with the proprietress or a prostitute. A prosti-

tute’s dance would be a featured sequence. Another highlight was a

love scene (nureba) between the romantic leads. The performances

implied that the favors of the actor playing the prostitute could be

purchased. An affront to public morality, these performances were

proscribed in 1655 and 1664, but, apart from alteration of the titles,

the proscriptions seem not to have been put into practice. The late

17th and early 18th centuries saw increasing sophistication in plays

set in the district, and their stories were often integrated into oie kyo

gen. See also KAMIGATA KYO

GEN; YU

JO NO KOI; YU

JO TO

NYO

BO.

SHIMAI. A type of concert recital of no

showing an outstanding high-

light—such as the kuse from Hagoromo—that is shorter than those

used in mai bayashi,

lasting

perhaps ﬁve minutes. It is danced to the

accompaniment of choral recitation only, without no

music, no

cos-

tume,orno

mask. The jiutai, reduced in size, sits where the musi-

cians usually do, facing forward. Often, the seated shite chants (utai)

a couple of introductory lines, followed by a choral passage, and then

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SHINJU

MONO • 357

rises to dance. Although usually performed solo, there are times

when two or three actors participate. They usually wear montsuki

and hakama but a regular kimono or even a summer weight yukata

is acceptable. A fan and white tabi are required.

SHIMOTE. In bunraku and kabuki, ‘‘stage right’’ from the actor’s

point of view.

SHINBASHI ENBUJO

. A Tokyo theatre, seating 1,428, often used for

bunraku, kabuki, shinpa, and other forms of Japanese theatre. It was

inaugurated in 1925 as a theatre for geisha, who still perform there

annually. It has been managed by Sho

chiku since 1940. Bombed in

1945, it was reopened in 1948, and was reconstructed from 1979 to

1981. The building it shares with o ther enterprises has 16 stories

aboveground and ﬁve below. The proscenium arch is about 65 feet

wide by 24 feet high; the stage depth is about 62 feet.

SHINBUTSU. ‘‘Gods and Buddhas,’’ groups of kyo

gen masks and no

masks. The former include the daikoku, ebisu, fukujin (or fuku no

kami), bishamon, kaminari, and hakuzo

su, all named for particular

deities. They bear friendly, approachable expressions. In addition,

there are subordinate shrine deities who appear in aikyo

gen roles and

wear the noborihige. No

examples, which are more imposing, include

the shintai, shaka, and fudo

SHIN DAN JO KYO

KI. Also shin nan nyo kyo

ki, a simpliﬁed way of

referring to the ﬁve-play arrangement of a formal no

program by

using

the

Chinese pronunciation of the words for ‘‘deity’’ (kami

shin), ‘‘man’’ (otokodan), ‘‘woman’’ (onnajo), ‘‘madness’’ (kur-

uikyo

), and ‘‘demon’’ (oniki).

SHIN JO NO MAI. ‘‘God quiet dances,’’ a kind of solemn no

dance

performed by deities. See also MAIGOTO; SHIN NO JO NO MAI

MONO.

SHINJU

MONO. The numerous bunraku and kabuki plays featuring

‘‘lovers’ suicide’’ or ‘‘double suicide,’’ often based on recent actual

events ( see ICHIYAZUKE KYO

GEN). The ﬁrst kabuki examples

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358 • SHIN KABUKI

appeared in Osaka in 1683, based on the recent love suicides at Iku-

tama of the Shinmachi district courtesan Yamatoya Ichinojo

and her

boyfriend, the dry goods merchant Gose no Cho

bei. At least 15 addi-

tional shinju

mono were produced by kabuki before the end of the

century. The pioneer bunraku example was Chikamatsu Monzae-

mon’s Sonezaki Shinju

(1703), also the ﬁrst sewa mono puppet play.

In jidai mono, such suicides normally result from a case of ‘‘love

between enemies’’ (kataki do

shi no koi), while in sewa mono the

cause is likely to be ‘‘forbidden love’’ (yurusarenai koi) concerning

an affair between a courtesan and a prodigal son, typically married

or betrothed. Sewa mono lovers believe that only in death can they

ﬁnd true union. Money problems are commonly involved and the

plots involve not only the couple but the family of the hero and his

wife or ﬁance

e. Such plays depict the restrictions on love in a feudal

society where all marriages were arranged.

Among the great shinju

mono are Shinju

Ten no Amijima, Shinju

Yoi G o

shin, Katsuragawa Renri no Shigarami, Chikagoro Kawara

no Tatehiki, etc. Some led to subgenres of their own featuring the

same hero and heroine. Beginning as a Kamigata fad, shinju

mono

caught on in Edo as well.

Despite its widespread romantic image, the authorities harshly

treated real life double suicides. Lovers’ corpses were put on public

display or their living relatives were shown naked for several days,

seriously shaming the families involved. Still, the plays glamorized

these tragedies, leading to many more suicides and forcing the gov-

ernment to prohibit dramatizations of actual shinju

. When the pro-

scription was lifted in the 1740s, few new examples appeared.

One way around the restrictions was to place the stories in the dis-

tant past. These plays focused on lovers who were usually preoccu-

pied with retrieving a family heirloom (see OIE NO CHO

). When

plot circumstances pushed them to kill themselves, a sudden reversal

would occur and they would be saved.

SHIN KABUKI. ‘‘New kabuki,’’ the modern genre that came into being

around the turn of the 20th century when scholars and literary artists

not part of the traditional playwriting system attempted to write dra-

mas that reﬂected European dramatic standards. The degree to which

they use traditional kabuki conventions varies, although hayagawari,

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SHIN KABUKI JU

HACHIBAN • 359

mie, keren, kumadori, etc., are usually avoided. Usually, music is

heard only when the context justiﬁes it. These works were inﬂuenced

by the reform movements (see ENGEKI KAIRYO

UNDO

) that

emerged during the Meiji period. Early manifestations were the

katsureki mono pioneered by Ichikawa Danju

IX and Kawatake

Mokuami, and zangiri mono, which reﬂected everyday life in a rap-

idly changing Japan.

A major advance was made with Tsubouchi Sho

’s Kiri Hitoha,

considered the ﬁrst actual shin kabuki play, although not staged until

1904. Before long, writers like Mori O

gai, Matsui Sho

, Takayasu

Gekko, Yamazaki Shiko

, Oka Onitaro

, and Okamoto Kido

began

writing shin kabuki plays. Kabuki began to reveal more accurate rep-

resentations of histor y, deeper psychological characterization, and

greater stage realism. Other major prewar writers joined the trend,

including Yamamoto Yuzo

, Kikuchi Kan, Tanizaki Junichiro

Mayama Seika, Ikeda Daigo, Okamura Shiko

, and Uno Nobuo.

In the postwar period, shin kabuki playwrights attempted to foster

the antifeudalism demanded by the Occupation authorities. Few post-

war examples are as respected as their predecessors. See also PLAY

CATEGORIES: KABUKI.

SHIN KABUKI JU

HACHIBAN. The ‘‘New Kabuki 18,’’ an ie no gei

collection established by Ichikawa Danju

IX to commemorate the

great

roles

of his career, as opposed to those of his predecessors in

the line, represented in the kabuki ju

hachiban collected by Danju

VII. Two plays Danjuˆro

VII would have included in a shin kabuki

hachiban he was assembling were included in the new collection.

Danjuˆro

IX originally aimed at 18 plays but he added 15 more, bring-

ing the total to 32. Ju

hachiban (‘‘number 18’’) can signify an artistic

forte, exclusive of the number of items included. Most of Danju

IX’s choices come from katsureki mono dances; a good number are

derived from no

and kyo

gen, most in the matsubame mono style.

The selections are (short, popular titles precede formal titles): Tora

no Maki (Kiichi Ho

gen Sanryaku no Maki), Rensho

no Monogatari

(Ichinotani Gaika no Ko

utai), Jishin Gato

(Zo

ho Momoyama Mono-

gatari), Harinuki Zutsu Sanada no Nyu

, Koshigoejo

(Nanbantetsu

Goto

no Menuki), Sakai no Taiko (Taiko no Oto Chiyu

no Sanryaku),

Shikigawa Mondo (Youchi no Soga Kariba no Akebono), Kibi Daijin

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360 • SHIN KABUKI-ZA

(Kibi Daijin Shina Banashi), ‘‘Sanemori Kangen’’ (Natorigusa Heike

Monogatari), Egara Mondo (Hoshizukiyo Kenmon Jikki), Tsuri Gi-

tsune, Nakamitsu (Nidai Genji Homare Migawari), Takatoki (Ho

Kudai Meika Isaoshi), Funa Benkei, Yamabushi Settai (Senzai Soga

Genji Ishizue), Shizuka Ho

rakumai (Senzai Soga Genji Ishizue), Ise

no Saburo

(Mibae Genji Michinoku Nikki), Momijigari, Tako no

Tametomo (Nani O

shima Homare no Tsuyuyumi), Mongaku Kanjin-

cho

(Nachi no Taki Chikai no Mongaku), Hidari Shoto

(Meisaku

Hidari Shoto

), Ko

ya Monogurui, Nakakuni, Suo

Otoshi, Onna Kusu-

noki (Motomezuka Migawari Nitta), Kagami Jishi, Shin Nanatsumen,

Ninin Bakama, Mukai Sho

gen, Fukitori Zuma, Shihei no Shichi

Warai (Tenmangu

Natane no Goku

), O

mori

Hikoshichi.

SHIN

KABUKI-ZA. A 1,771-seat Osaka theatre, a short distance from

the Do

tonbori district, which opened in 1958. Although intended to

replace the Osaka Kabuki-za as Osaka’s central kabuki theatre, it

now produces kabuki only sporadically. It has a spectacular Momo-

yama-style exterior and maintains traditional sajiki seating. Although

well equipped, it has no mawari butai.

SHINKO ENGEKI JISSHU. ‘‘Collection of 10 New and Old Plays,’’

the ie no gei collection of kabuki’s Onoe family, established by Onoe

Kikugoro

V. He died before all the choices were made, however,

only nine plays having been selected, so the 10th was chosen by

Kikugoro

VI, when he revived Migawari Zazen in 1912. The collec-

tion emphasizes the Onoe line’s specialty of plays dealing with

demons, magic, and transformations.

The selections are Rakan, Kodera no Neko, Tsuchigumo, Ibaraki,

Hitotsuya, Modori Bashi, Kiku Jido

, Hagoromo, Osakabe-hime, and

Migawari Zazen.

SHINNAI BUSHI. A style of Edo shamisen music created toward the

end of the 18th century and derived from the bungo bushi style of

ruri by Tsuruga Shinnai, a disciple of bungo bushi’s creator. It dif-

fered from other schools by its infusion of a strongly suggestive tone

into its kudoki passages. Shinnai was frequently heard in kabuki in

its early years, but eventually was heard mainly in nontheatrical per-

formances. Of the small number of works in which it is still heard,

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