Leiter S.L. Historical Dictionary of Japanese Traditional Theatre
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SHINPA • 361
the best known is Wakagi no Adanagusa. In some sewa mono,itis
played offstage in the geza.
SHIN NO JO NO MAI MONO. A division of the hatsubanme mono
category of no
ˆ
, featuring long, slow, stately no
ˆ
‘‘god quiet dances’’
of old deities, imbued with nobility, strength, and quietude, and using
taiko drumming. It includes four plays featuring old deities: Oimatsu,
Haku Rakuten, Ho
ˆ
jo
ˆ
gawa, and Saoyama, the only one with a female
deity. See also CHU
ˆ
NO MAI MONO; GAKU MONO; HATARAKI
MONO; KAMI MAI MONO.
SHINOBUE. Also takebue, a transverse bamboo flute played in kabu-
ki’s nagauta ensemble. The standard type has seven holes, but there
are examples with five and six as well. See also FUE; NARI MONO.
SHI NO KIRI. Originally the conclusion (kiri)ofabunraku play’s
four th act, but now mainly used to signify the Kawatsura Ho
ˆ
gen
mansion scene in the fourth act of Yoshitsune Senbon Zakura.
SHINPA. The ‘‘new school’’ of Japanese drama born in the late 19th
century as a response to a need for a modern theatre influenced by
Western dramaturgy. Kabuki found itself unable to reflect the new
ideas flooding into Japan. The term was coined in 1897, with kabuki
being referred to as kyu
ˆ
ha (‘‘old school’’). It began in the early 1890s
as a mainly amateur endeavor, with liberal political overtones chal-
lenging the Meiji government, being known then as so
ˆ
shi shibai,
so
ˆ
shi being a kind of young political activist. Among the many early
innovators were Sudo
ˆ
Sadanori (1867–1907) and Kawakami Otojiro
ˆ
(1864–1911), who became shinpa’s first star and whose actress wife,
a former geisha named Kawakami Sadayakko (1871–1946), became
an international sensation when they toured to Europe. His produc-
tions allowed traditional onnagata to share the stage with real
actresses, and incorporated various Western techniques. Kawakami’s
pla
y
s depicting the Sino-Japanese war (1894–95) offered serious
competition to kabuki. Eventually, many kabuki actors of note
appeared in shinpa and its playwrights were often the same as those
writing for shin kabuki. By the 1920s, it began to lose ground to
shingeki, which was modeled closely on modern European drama.
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362 • SHIN TAKADOMA
Today, it is best known for sentimental plays depicting Meiji-period
characters and situations.
SHIN TAKADOMA. The elevated box seats running along the sides of
late Meiji-period and early 20th-century kabuki theatres, directly in
front of the lower sajiki. They were ‘‘new’’ (shin) because they were
added to the takadoma already in place.
SHINUKI. Part of a kabuki dance involving several characters where
individuals ‘‘step forth’’ to perform solo. Examples are in Noriaibune
and Utsubo Zaru. Also, scenes in solo dances when the performer
does an emotionally rich or scenically descriptive sequence unrelated
to the main theme. An example is in Kairaishi.(See BUYO
ˆ
; SHOSA-
GOTO.) Finally, shinuki occur in tachimawari when attackers step
forth individually to do battle, are routed, and replaced by someone
else.
SHIRABE. The haunting no
ˆ
music heard wafting from the kagami no
ma to signal the imminence of the performance. It is often described
as the musicians tuning their instruments, although it is intended that
the audience hear it.
SHIRABYO
ˆ
SHI. A medieval entertainer and her dance. Although there
were both male and female shirabyo
ˆ
shi, no
ˆ
and kabuki present only
the latter, who dressed as men in suikan, a kind of white robe, and
carried shor t swords. Examples include Shizuka Go zen i n various
plays, and Hanako in Musume Do
ˆ
jo
ˆ
-ji. See also OTOKO MAI.
SHIRADAYU
ˆ
. Male puppet head used for gentle, simple, somewhat
comical old men, usually rustics. His name comes from that of the
father of the triplets in Sugawara Denju Tenarai Kagami. The light
beige face has no movable parts.
SHIRAI MATSUJIRO
ˆ
(1877–1951). One of the two cof ound ers of
Sho
ˆ
chiku, the other being his twin brother, O
ˆ
tani Takejiro
ˆ
.
SHIRANAMI MONO. A subgroup of 19th-century kabuki kizewa
mono whose
h
eroes are romantic bandits. Shiranami (‘‘white
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SHIRONURI • 363
waves’’) comes from a Chinese word for robbers who had their
stronghold in ‘‘White Wave Valley.’’ Ko
ˆ
dan stories were adapted for
kabuki by Kawatake Mokuami, called the shiranami sakusha
(‘‘bandit playwright’’), for Ichikawa Kodanji IV, the shiranami
yakusha (‘‘ba nd it actor’’). Among their shiranami collab oratio ns
were Miyakodori Nagare no Shiranami, Nezumi Komon Haru no
Shingata, Amimoyo
ˆ
To
ˆ
ro
ˆ
no Kikukiri, Kosode Soga Azami no Ironui,
Sannin Kichisa Kuruwa no Hatsugai, Kanzen Cho
ˆ
aku Nozoki Kara-
kuri, and Fune e Uchikomu Hashi Ma no Shiranami. The great Aoto-
zo
ˆ
shi Hana no Nishiki-e, however, was written for someone else.
Mokuami also wrote later shiranami mono that are still produced,
including Shimachidori Tsuki no Shiranami and Shisen Ryo
ˆ
Koban
no Umenoha. The criminals are decent men who are torn between
giri and ninjo
ˆ
, and who are entwined in the workings of karma
(inga).
SHIRASE.Adouble-beat ‘‘warning’’cuemadeinkabuki bythekyo
ˆ
gen-
kata with the hyo
ˆ
shigi clappers when the stage revolves, scenery is
shifted, or the narrative music speeds up.
SHIRASU. The ‘‘white pebbles’’ forming the border running along the
downstage edge of a no
ˆ
stage and hashigakari.Theborderisa
reminder of pre-1881 days when spectators sat out of doors, sepa-
rated from the roofed stage by similar pebbles. Not all no
ˆ
stages
have
such
white pebbles, though. The oldest extant stage, at the Nishi
Hongan-ji Temple in Nara, has black ones. The three-stepped stair-
case called shirasu bashigo (‘‘white pebble ladder’’) or kizahashi is
situated in the pebbles at the center of the main stage area. Three
small pine trees sit in the shirasu below the hashigakari.
SHIRISHIKI. The small wooden stool set beneath the bunraku chant-
er’s buttocks, with a small pillow to support him, increase his stat-
ure, and take pressure off his legs during a performance. It comes in
different heights according to the size of the performer. It is called
an aibiki when used by nagauta musicians in kabuki.
SHIRONURI. ‘‘White painting,’’ the application of makeup using
oshiroi and the male roles that employ it. Often, the hue of whiteness
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364 • SHISHIMAI
reflects the relative goodness o f the character . The thre e princ ipal
shironuri types for tachiyaku are wagoto, such as Izaemon in Kur-
uwa Bunsho
ˆ
; jitsugoto, such as Sanemori in Genpei Nunobiki no
Taki; and wakashu, such as Sakuramaru in Sugawara Denju Tenarai
Kagami. Despite their obvious differences, all are attractive and righ-
teous. Some seemingly shironuri types, like the iroaku (see KATAKI-
YAKU), are sensually appealing but internally corrupt. Iemon in
To
ˆ
kaido
ˆ
Yotsuya Kaidan is an example. See also YAKUGARA.
SHISHIMAI. A colorful no
ˆ
‘‘lion dance’’ using the taiko in its music,
and performed to a difficult tempo. It is seen in kyo
ˆ
gen, no
ˆ
,and
kabuki. The ‘‘lion’’ is based on the imaginary shishi creature, and
employs violent head movements, bending of the upper body, and
many other unconventional movements to suggest romping about
among peonies. No
ˆ
examples include Uchito Mo
ˆ
de and Shakkyo
ˆ
,
while kyo
ˆ
gen performs shishimai in Echigo Muko
ˆ
and Shishi Muko
ˆ
,
but with different music and movements from no
ˆ
. See also SHAK-
KYO
ˆ
MONO.
SHITE. The ‘‘doer’’ who is the principal actor (and character) in a no
ˆ
play, sometimes called the protagonist. His foil is generally the waki.
In
tw
o-part plays, the shite is maejite (‘‘before-shite’’) in the first part
and nochijite (‘‘after-shite’’) in the second. Thus, the maejite in Atsu-
mori is a rush cutter, and the nochijite is Atsumori’s ghost. In a one-
par t no
ˆ
,theshite remains the same throughout, like the angel in
Hagoromo. The maejite and nochijite are usually the same character,
but sometimes they are different, as in Funa Benkei, where the mae-
jite is a woman, Shizuka, and the nochijite is the ghost of the warrior
Tomomori. Shite that wear no
ˆ
masks are women, old men and
women, ghosts, demons, deities, and children. E xcept for cer tain
later plays, the shite is generally the personification of a strong emo-
tion rather than a recognizable individual. With a tiny number of
exceptions (like the title characters in Shunkan and Kagekiyo), living
(or supposedly living) men, such as priests and warriors, do not wear
masks (hitamen). The shite often is accompanied by tsure and tomo.
Kyo
ˆ
gen also has shite, but such characters are not always the chief
ones in a play. See also DRAMATIC STRUCTURE: NO
ˆ
; KYO
ˆ
GEN-
KATA.
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SHIZUMEORI • 365
SHITE BASHIRA. The ‘‘shite pillar,’’ located upstage right on a no
ˆ
stage, where the hashigakari joins the main stage. The entering shite
stops at the nearby jo
ˆ
za (or nanoriza) position.
SHITTOGOTO. Also rinkigoto, ‘‘jealousy business,’’ a kabuki onna-
gata specialty ranking alongside nuregoto (see NUREBA)and the
portrayal of women warriors (onna budo
ˆ
; see also BUDO
ˆ
GOTO).
Jealous women are important characters, especially those who appear
as vengeful spirits in kaidan mono like To
ˆ
kaido
ˆ
Yotsuya Kaidan.
SHIZOME. A kabuki ceremonial event enacted during the first three
days of the New Year at Edo-period hatsuharu productions. The pro-
gram would include Okina Watashi, modeled on Okina, with Okina
played by the zamoto, Senzai by the wakadayu
ˆ
, and Sanbaso
ˆ
(see
SANBASO
ˆ
MONO) by the zagashira or choreographer (furitsukeshi;
see FURITSUKE). At the conclusion, a ceremony was held in which
a scroll was read aloud, the words providing the title (nadai) of the
main play and its acts, and the cast list. Then came a koyaku dance.
Actors in the Ichikawa Danju
ˆ
ro
ˆ
line would do a special bit in which
they demonstrated a mie associated with the family.
SHIZUMEORI. Also shizumeori o
ˆ
gi,
‘‘closed-tip fans
’’ carried by the
no
ˆ
jiutai and ko
ˆ
ken and, when used in concert recitals of no
ˆ
, bear
images representing the school of no
ˆ
to which the bearer belongs.
Thus a swirling water pattern represents the Kanze ryu
ˆ
,five-fold
clouds the Ho
ˆ
sho
ˆ
, five planets the Konparu, nine planets the Kongo
ˆ
,
and three clouds the Kita. They are also carried by the shite, tsure,
and waki when they wear the suo
ˆ
robe in kamishimo style (see COS-
TUMES: NO
ˆ
). These fans have only 10 ribs. Many no
ˆ
kyo
ˆ
genkata
carry them, but specific characters usually carry the chu
ˆ
kei.
Concert recitals are danced with the shizumeori, not the chu
ˆ
kei,
but those used for female dances have black ribs, not bone. The shi-
zumeori carried by musicians, since they do not have to open, are
smaller than those used by the actors. When the jiutai begins to
chant (utai), its members raise their fans simultaneously and hold
them vertically, the wooden end resting on the floor. See also PROP-
ERTIES: NO
ˆ
.
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366 • SHO
ˆ
CHIKU
SHO
ˆ
CHIKU. The theatrical, film, and general entertainment conglom-
erate that controls all major kabuki productions, and formerly man-
aged bunraku as well. Its chief rival is To
ˆ
ho
ˆ
. Sho
ˆ
chiku was founded
in Kyoto in 1902 by the twin brothers Shirai Matsujiro
ˆ
and O
ˆ
tani
Takejiro
ˆ
, who began as peanut vendors. The matsu in Matsujiro
ˆ
and
the take in Takejiro
ˆ
, read according to Chinese pronunciation, created
the word Sho
ˆ
chiku. The company took root in Kamigata and, by
1909, owned Kyoto’s Minami-za and Osaka’s Naka-za and Bun-
raku-za, among other venues. Shirai remained in Kamiga ta when
O
ˆ
tani moved to Tokyo in 1910, where he proceeded to acquire such
theatres as the Shintomi-za (see MORITA-Z A) an d the Hongo
ˆ
-za
and to have all major shinpa actors under contract. By 1914,
Sho
ˆ
chiku ran the Kabuki-za and controlled many of Tokyo’s leading
kabuki actors. In 1919, the company’s corporate offices were estab-
lished in Tokyo’s Tsukiji section. By 1923, Sho
ˆ
chiku ruled kabuki
and shinpa, and its hunger for additional theatres continued to grow
as did its interest in other forms of entertainment.
The postwar period witnessed the rehabilitation of the company’s
bombed out theatres and the successful preservation of Japan’s clas-
sical theatres. Foreign tours of kabuki also were instituted.
SHO
ˆ
DAN. The 100 or so ‘‘modules’’ or building blocks of which a no
ˆ
play is composed. Plays are constructed of spoken or prose sho
ˆ
dan
(katarigoto); chanted o r verse sho
ˆ
dan (ut aigo to); musica l sho
ˆ
dan
(hayashigoto );
an
d silen t sho
ˆ
dan (shijimagoto). Thus , katarigoto
would include katari, nanori, mondo
ˆ
, tsukizerifu,etc.Utaigoto
examples include ageuta, kakeai, kiri, kudoki, machi utai, rongi,
shidai, sageuta, kuri, kuse, michiyuki, noriji, issei, waka, saji, etc.
Hayashigoto would include jo no mai, chu
ˆ
no mai, hayamai, otoko
mai, kami mai, kagura, gaku, kakko, iroe, kakeri, hayabue, o
ˆ
beshi,
sagariha, issei, deha, shidai, etc. Shijimagoto would include su no
de, su no nakairi, and su monogi.
SHO
ˆ
HON
. Also daihon
, daicho, kyakuhon, and, in Kamigata, kami-
gata nehon. Principally, a premodern play script written with a brush
in the Kantei ryu
ˆ
style. There are yokohon (‘‘horizontal books’’) and
tatehon (‘‘vertical books’’). The sho
ˆ
hon was the ‘‘correct book’’ cor-
rected and approved, in bunraku by the chanter and in kabuki by the
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SHOSAGOTO • 367
zagashira and zamoto.(See MARUHON.) Each act was placed in a
separate book with a cover bearing the month of the performance,
the title, the scene, and the actors. Speeches were listed by actors’
names, not characters’. The oldest extant example is for an Osaka
play produced in 1710.
Sho
ˆ
hon may also refer to old woodblock-printed books containing
jo
ˆ
ruri texts set to music; old scripts for dances produced in kato
ˆ
bushi, itchu
ˆ
bushi, tokiwazu, tomimoto, and kiyomoto, and nagauta
(nagauta sho
ˆ
hon); and old woodblock books including a collection
of stage speeches (serifuzukushi) or popular songs.
SHO
ˆ
JI YATAI. A bunraku and kabuki scenery element (jo
ˆ
shiki o
ˆ
do
ˆ
gu)
representing a small room enclosed with sliding doors and found in
sets showing palaces, shrines, temples, castles, and battle camps, as
well as townsmen’s and farmers’ houses and businesses.
SHO
ˆ
NE. A kabuki character’ s fun dame ntal hu man n atur e; th e word
wasusedevenbytheno
ˆ
master Zeami. The subtle details of the
actor’s performance convey the character’s shone; a wrong gesture
can reveal a misinterpretation of the role. The word implies all
aspects of the character’s behavior, the so-called ‘‘given circum-
stances’’ that dictate someone’s actions at any moment.
SHONICHI. The ‘‘opening day’’ of a production. In premodern times,
the company would visit the zagashira’s home to hear a speech of
good wishes. After the performance, there would be a banquet for his
disciples. Today’s main actors meet backstage to offer each other
mutual congratulations and to pray for good luck. See also KO
ˆ
GYO
ˆ
;
SHIZOME.
SHOSA BUTAI. The kabuki ‘‘dance stage’’ formed from a set of niju
ˆ
platforms,
perhaps
six inches high, placed on the regular stage floor
and hanamichi for dances and highly stylized jidai mono, including
aragoto pieces. Actors can slide their tabi along them easily; when
stamped on, they produce loud reverberations.
SHOSAGOTO. The kabuki genre of dance plays (see also BUYO
ˆ
), also
called buyo
ˆ
geki, furigoto, hyo
ˆ
shigoto, and keigoto. Kabuki emerged
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368 • SHUDO
ˆ
GOTO
from performances that were more dance than drama, so dance inevi-
tably became a principal component of the form, both in the dance-
influenced acting in straight plays, and in the production of plays that
were entirely or in substantial part performed as dances.
Kabuki dances, which employ the elements of mai, odori,and
furi, belong to two major types: 1) dramatically interesting dances
with strong story lines and developed characters, performed to kiyo-
moto, tokiwazu,ortakemoto accompaniment; and 2) more lyrical,
non-narrative dances, perfor med t o nagauta musi c. Th e lat ter a re
considered the truest examples of shosagoto because the emphasis is
more on dance than acting. When shosagoto are performed, a special
dance stage (shosa butai) is laid over the regular stage and hanami-
chi, allowing for sliding foot movements and resonant stamping
movements. In such performances, the accompanying musicians
appear on stage seated on special platforms. See also DEBAYASHI;
DEGATARI.
Types of shosagoto include matsubame mono; dances performed
with highly theatricalized sets and costumes, and often using quick-
changes; and solo dances, many of them the remnants of henge
mono in which the dancer had to play multiple characters. See also
MICHIYUKI; O
ˆ
GIRI.
SHUDO
ˆ
GOTO. Short for wakashudo
ˆ
, the ‘‘way of beautiful young
men,’’ the practice of male same-sex relations common in premodern
Japan; it formed an impor tant part of kabuki’s hist orical develop-
ment. It was prevalent in wakashu kabuki, when the young actors
were also male prostitutes, their behavior causing the ban on
wakashu kabuki that led to the artistic sophistication of kabuki. Plays
with homosexual themes lost favor in the early 18th century and little
remains, although suggestions occasionally may be found, as in
Kenuki and Act 4 of Kanadehon Chu
ˆ
shingura. Sakura-hime Azuma
Bunsho
ˆ
reflects homosexuality among Buddhist priests and acolytes.
See also WAKASHUGATA.
SHU
ˆ
DO
ˆ
SHO. ‘‘Learning the Way,’’ a short, secret treatise (hiden)by
Zeami written in 1430. In it, he discusses how a troupe can work
together harmoniously, blending its skills, to create a well-balanced
ensemble. The shite must
be
the representative performer, one who
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SHU
ˆ
GYOKU TOKKA • 369
excels in all aspects of acting, but his art must be unified with that of
everyone else or the effect will be incomplete. Then the waki’s artis-
tic responsibilities are explained, both as an individual and troupe
member, i ncluding his duty not to take precedence over the shite
when he clearly has greater skill than the shite. A famous fue player’s
performance is described to illustrate how he helped unify an other-
wise dissonant performance by the shite and kokata. The functions
of kyo
ˆ
genkata in a no
ˆ
play, when they must act as expositors and not
as clowns, are explained next. In a kyo
ˆ
gen play, the kyo
ˆ
gen actor
must not always seek to cause loud laughter but, when appropriate,
to raise a gentle smile, which Zeami considers a sign of a higher level
of humor. Vulgarity must always be avoided. Finally, Zeami men-
tions that programs in his time usually contained three no
ˆ
and two
kyo
ˆ
gen, but that many occasions were witness to as many as 10 plays
and that—hinting at the difficulty of the task—it was the actor’s job
to perform in them. He then reiterates the role of jo-ha-kyu
ˆ
in a five-
play no
ˆ
program and the need to consider it no matter how many
plays are being produced.
SHU
ˆ
GEN NO
ˆ
. A ‘‘felicitous no
ˆ
’’ performed at the end of a no
ˆ
pro-
gram to provide an auspicious concluding atmosphere. Only the sec-
ond act (nochiba) of the selected play is shown in what is called ‘‘half
no
ˆ
’’ (han no
ˆ
). It focuses on the dancing of the nochijite (see SHITE),
a beneficent supernatural creature who bestows blessi ngs, such as
peace and riches, on the nation. For example, in Sho
ˆ
jo
ˆ
, a water sprite
living in China, who is fond of sake, symbolizes long life and pros-
perity. The shu
ˆ
gen version begins with the waki’s machi utai (see
also YO
ˆ
KYOKU) from the second half. For Iwafune, the nochijite is
a
dragon
god who bestows treasures from China and Korea on Sumi-
yoshi Bay. Sho
ˆ
jo
ˆ
and Iwafune are gobanme mono; sometimes, how-
ever, hatsubanme mono like Takasago and Yo
ˆ
ro
ˆ
are performed in
shu
ˆ
gen no
ˆ
style; some believe that gobanme mono are best because
they are designed to conclude a program.
SHU
ˆ
GYOKU TOKKA. ‘‘Finding Gems and Gaining the Flower,’’ a
secret treatise (hiden)byZeami, written in 1428. The document is a
series of six questions and answers. The latter are often practical
advice on acting technique with a layering of Buddhist metaphysics.
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370 • SHUKO
ˆ
Often, Zeami harks back to his earlier writings for examples. The
questions concern why a master actor sometimes gives successful
performances and sometimes not; whether the appreciative reaction
of an audience to both a master actor and a beginner is the same; and
what the meanings of certain aesthetic terms are, such as omoshiroki
(‘‘fascination’’), yasuki kuari (‘‘perfe ct fluency’’), jo
ˆ
ju (‘‘complet e
fulfillment’’), and gaibun (‘‘sphere of personal accomplishment’’).
SHUKO
ˆ
. The plot elements of a bunraku or kabuki play, considered the
‘‘horizontal’’ line in contrast to the ‘‘vertical’’ line of the ‘‘world’’
(sekai). The playwright typically selected a sekai and its standard
plot devices and then displayed his originality by the way he manipu-
lated these to become something unique. This might be enhanced by
the mingling (naimaze) of two or more sekai.
SHU
ˆ
MEI. The formal ‘‘name taking’’ celebrated when a kabuki
actor’s son (biological or adopted) or pupil assumes a hereditar y
stage name (geimei). The ceremony (shu
ˆ
mei hiro) is produced as one
of the pieces on a kabuki program and can be a significant draw
when the name is important enough. All the actors in the company
appear in makeup and kamishimo and line up across the stage, with
those most responsible for the actor’s welfare providing formal
words of encouragement (ko
ˆ
jo
ˆ
). Occasionally, especially when a
child is making his debut, the play he is in stops, the actors address
the audience on his behalf, and the play resumes. Actors take not only
the name but the ordinal number associated with the succession,
although there have been times when two actors held the same name,
each with a different number. Often, the name demonstrates that the
actor has achieved a certain level of proficiency. An actor may hold
one name throughout his career, or may hold many, depending on
family and career circumstances. There also have been a number of
instances when an actor was given an important name posthumously.
Finally, actors who have achieved the highest name in their family
have been known to hand it over to a talented son and to take another,
perhaps one never held before, so that their offspring can enjoy the
fruits of success while the father is still living.
SHURA NO
ˆ
. See NIBANME MONO.
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