Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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TOITAGAESHI • 401

TOGAKI. The ‘‘stage directions’’ in kabuki scripts, which always are

preceded by the quotative particle ‘‘to.’’ Togaki describe the sets and

some stage business. Togaki jo

ruri are play scripts chanted in gidayu

bushi style; narrated passages that describe entrances and exits are

preceded by ‘‘to.’’

. The To

Kabushiki Gaisha (‘‘To

Joint Stock Company’’),

an entertainment combine whose chief rival has long been Sho

chiku.

It was founded in 1932 by Kobayashi Ichizo

(1873–1957), an execu-

tive with the Hanshin Express Railroad, who developed an amuse-

ment park, railway terminal department store, and residential district

in the town of Takarazuka, now famous for its all-female musical

companies. His other prewar major theatrical ventures included con-

trol of Tokyo’s Yuraku-za, the To

theatre troupe, the Nihon Gekijo

and the Teikoku Gekijo

.To

began its own kabuki company in

1935, hiring a number of rising young actors away from Sho

chiku,

among them the future Bando

Mitsugoro

VIII, the future Naka-

mura Kanzaburo

XVII, and the future Ichikawa Danju

XI.

Despite some initial success created by lower prices, the company

lost money and was closed within three years. To

succeeded, how-

ever, with other theatrical ventures and movies, which it entered in

1939.

In the postwar period, the theatre used by the Tokyo Takarazuka

company was commandeered by the Occupation forces and called

the Ernie Pyle Theatre, to which Japanese were forbidden entry for

some years. The company suffered setbacks in the immediate post-

war period, but in 1955 To

resumed management of the Tokyo

Takarazuka theatre, and reeme rged as a t heat rica l power, wit h the

addition of important theatres to its network.

Another venture into kabuki management

lasted

from 1961 to

1972, when leading act or Matsumoto Ko

shiro

VIII and his sons

defected from Sho

chiku with a group of other stars. Sometimes, it

allowed actresses to play classical onnagata roles.

TOITAGAESHI. A ‘‘reversible rain door’’ used in To

kaido

Yotsuya

Kaidan’s scene at the Inbo

Canal, when the corpses of Oiwa and

hei ﬂoat in lashed to either side of it. Dummies replace the bodies,

and the actor (who does a quick makeup change to play both Ko

hei

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402 • TO

KICHI RYU

and Oiwa) places his head through a hole above the body to effect

an instant transformation when the door is ﬂipped around. See also

KEREN; SHIKAKE.

KICHI RYU

. A Kamigata calligraphy style used on kabuki kan-

ban and in banzuke; it uses sharp, angular strokes. It was founded by

Osaka theatre functionary Nanoken To

kichi. See also KANTEI RYU

TOKIWAZU BUSHI. One of the major types of kabuki music, which

arose as a jo

ruri style created by Tokiwazu Mojitayu

I (1709?–81)

following the 1739 banning of bungo bushi. It came to play a sig-

niﬁcant role in jidai mono, sewa mono, and shosagoto as a narrative

style accompanying the action. It uses the midsize chu

zao shamisen,

making it lighter in tone than gidayu

bushi and is more suitable for

dance than as a narrative form. Tokiwazu musicians often appear on

stage (degatari) dressed in persimmon-colored kamishimo, seated at

stage right, using two chanters and three shamisen players. Impor-

tant tokiwazu scores are heard in Seki no To, Modori Kago, Utsubo

Zaru, Masakado, and Momijigari, among dance plays, while straight

plays include Sumidagawa Gonichi no Omokage and the michiyuki

in Imoseyama Onna Teikin and Kanadehon Chu

shingura (Act 8).

TOKOY

AMA. The

artisans who style bunraku and kabuki wigs, which

are created by the wig maker (katsuraya). Once the basic construc-

tion of the wig has been completed (see DAIGANE), the tokoyama

dresses it according to the character for whom it is intended. He also

cares for the wig during the run. Just as in the Edo period, there are

male-wig specialists and female-wig specialists.

KYO

GEKIJO

. An 1,893-seat Tokyo theatre built by Sho

chiku in

1930 in the Tsukiji section near the Kabuki-za, and versatile enough

to serve for movies, kabuki, and Western drama. It sur vived the

bombing of World War II, making it a crucial venue in the postwar

years. In 1975, it was rebuilt. It rarely produces kabuki anymore.

TOME. The ‘‘ending’’ of a no

or kyo

gen play. Kyo

gen endings have

several variations, which have been divided into three groups: (a)

when all complications have been resolved and ever ything ends

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TOMINAGA HEIBEI • 403

peacefully (shagiri tome [shagiria kind of ﬂute music]; warai tome

[‘‘laughter ending’’], etc.); (b) when things end in unresolved disor-

der (oikomi tome [‘‘c hase endi ng’’ ], shikari tome [‘‘scolding end-

ing’’], etc.); and (c) all others, including serifu tome [‘‘dialogue

ending’’], utai tome [‘‘singing ending’’], etc. A distinction can also

be made between how a play is resolved on the stage proper, and the

komi, or what happens between then and the actors’ exit through the

agemaku.

The standard tome in no

occurs when the shite stamps twice on

the hashigakari or at the jo

za position (see STAGE: NO

). There is

also the waki dome executed by the waki, who stamps twice after the

shite has exited, as in Tsuchigumo. When the ending is signaled by

the shite’s weeping (shiori), kata it is called shiori tome,asinSumi-

dagawa; when the chanting is over but the music continues for a bit,

it is nokori tome (‘‘remaining tome’’), as in Shakkyo

, etc.

MI. Painted scenery backgrounds (kakiwari)inbunraku and kabuki

picturing a distant view. They include yama to

mi (‘‘mountain vis-

tas’’), umi to

mi (‘‘sea vistas’’), machiya to

mi (‘‘rows of houses vis-

tas’’), niwa to

mi (‘

‘garden vistas’’), no

mi (‘‘ﬁeld vistas’’), miya

mi (‘‘shrine vistas’’), and so on. To

iri no to

mi (‘‘light-entering vis-

tas’’) allow light to shine through from lamps or the moon.

mi also refers to the convention of having adult actors play a

scene in the foreground, followed by the same characters appearing

further upstage played by identically clad children to create the per-

spective effect of distance. This happens most famously in Ichinotani

Futaba Gunki when even the horses the actors appear on are reduced

in size to emphasize the effect. The effect was ﬁrst developed in the

puppet theatre.

TOMIMOTO BUSHI. A jo

ruri style created for kabuki dances in 1748

by Tomimoto Mojitayu

II, a tokiwazu bushi musician who changed

his name to Tomimoto Buzennojo

I. When kiyomoto appeared, tomi-

moto lost popularity. By the Meiji era, the school lacked an iemoto.

Kurama Jishi, although a kiyomoto dance, preserves several tomi-

moto passages.

TOMINAGA HEIBEI. Originally an actor, he became a Kamigata

dramatist and is remembered for having been the ﬁrst to receive

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404 • TOMO

credit for his work in a 1680 banzuke, although some contemporaries

thought it improper. Eight of his oie kyogen are extant. He is also

known for his acting commentary, Kei Kagami (Mirror for Actors),

in the Yakusha Banashi.

TOMO. See TSURE.

TONBO. Also tonbogaeri, the ‘‘somersaults’’ performed when kabuki

tachimawari attackers are repulsed by the hero. There are about 20

extant types.

TONOKO. A kabuki makeup that provides ﬂesh tones in contrast to

the various whiteface (shironuri)orredface(akattsura) styles.

Mostly, it is for male characters, especially jitsuaku (see KATAKIYA-

KU) and older men in jidai mono. Many nonromantic characters in

sewa mono also use it.

TORAO

. Male puppet head whose name comes from a character in a

1725 play. The head is used for hateful, avaricious characters like the

evil Ono Kudayu

in Kanadehon Chu

shingura. It is beige and usually

has movable eyes, eyebrows, and mouth.

TORITE. In bunraku and kabuki, the black-garbed policemen carrying

small metal weapons (jitte) who often attack or surround the hero. In

‘‘Terakoya’’ (Sugawara Denju Tenarai Kagami), they line up across

the upstage area, prepared to strike should something go awry during

the head inspection (kubi jikken). In ‘‘Seizoroi no Ba’’ (Aotozo

shi

Hana no Nishiki-e), they engage in a ﬁght with the ﬁve bandits.

SHI KYO

GEN. The ‘‘complete play performance’’ of a bunraku or

kabuki play, typically a jidai mono, as opposed to the midori practice

of producing only selected scenes. The procedure in bunraku from

the time of the Takemoto-za was to produce the play from the daijo

through the third or fourth act and to add on a concluding sewa mono

or jidai mono act.

This

lasted until 1929, but in 1930, when the Yo-

tsuhashi Bunraku-za opened, it began to be abandoned in favor of

midori. The performance of all three acts of a sewa mono does not

constitute a to

shi kyo

gen.

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TOYOTAKE YAMASHIRO NO SHO

(1878–1967) • 405

In the postwar years, bunraku adopted the two-shows-a-day pol-

icy, which made it difﬁcult to produce to

shi kyo

gen from the daijo to

the o

zume, so something would be cut, although the program would

still be called to

shi. In some cases, the story would be edited so that

selected, closely related scenes were produced, thereby sustaining a

sense of consistency during the four-hour time frame; this is known

as han to

shi (‘‘half to

shi’’). See also PROGRAMS: KABUKI.

YOKO HALL. A small theatre formerly located on the ninth ﬂoor

of the To

yoko Department Store (now To

kyu

) in Tokyo’s Shibuya

district. Later known as To

yoko Gekijo

, it came to fame as a venue

for rising young kabuki actors in the 1950s and 1960s, giving rise to

the term To

yoko Kabuki. Its hanamichi was truncated and ran along

the stage right wall at an angle.

TOYOTAKE WAKATAYU

(1681–1764). Bunraku chanter who

began his career at the Takemoto-za as Takemoto Uneme but, in

1703, after two failed attempts to start his own theatre, founded the

Toyotake-za as a rival venture. He shared the musical style of his

master, Takemoto Gidayu

I, but differed from it enough to create

his own version, which was more tech nica lly a droi t, co lorful , and

sorrowful than the internalized, dry, reﬂective method of gidayu

bushi.(See FU

.) For his new venture he took the name Toyotake

Wakatayu

, thereby founding the Toyotake school.

After his new theatre got off to a sluggish start, he shut it down

and toured the provinces, then rejoined Gidayuˆ at the Takemoto-za,

and reopened the Toyotake-za in 1706, with former Takemoto-za

puppeteer Tatsumatsu Hachirobei as his partner and Ki no Kaion

as resident playwright. The emperor honored him with the name

Fujiwara Shigekatsu Ko

ke no shojo

in 1718. This great ar tist—

famed for his exquisite voice—combined in himself managerial,

ﬁnancial, chanting, and playwriting abilities. After the ﬁre that

destroyed both theatres in 1724, he bought the Arashi no Shibai in

tonbori and rebuilt the Toyotake-za. In 1731, the emperor granted

him the name Fujiwara Shigeyasu Echizen no shojo

. In 1765, a year

after he died, the Toyotake-za closed down.

TOYOTAKE YAMASHIRO NO SHO

(1878–1967). A bunraku

chanter, born in Tokyo, unlike most chanters, who are from Osaka.

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406 • TOYOTAKE-ZA

This did not stop him from becoming the leading chanter of his time.

At 12, he moved to Osaka and studied with Takemoto Tsudayuˆ II,

being called Takemoto Tsubamedayu

. Following Sho

chiku’s acqui-

sition of bunraku in 1909, he became Toyotake Ko

tsubodayuˆ II. In

1932, after Tsudayu

’s death, he became monshita of the Bunraku-

za. His honors include being made a member of the Nihon Geijutsuin

(Japan Arts Academy) in 1946 and his being granted the honorary

name of Yamashiro no shojo

by Prince Chichibu in 1947. The same

year, he performed ‘‘Shigenoi no Kowakare’’ (Koi Nyo

bo Somewake

Tazuna) before the emperor.

TOYOTAKE-ZA. One of the two great 18th-century puppet theatres

of Osaka’s Do

tonbori district, located on the east of the canal in con-

trast to its rival, the Takemoto-za, located to the west. It opened in

1703 under the leadership of the young chanter Toyotake Wakatayu

I, who had left the Takemoto-za to create this rival venue. He

returned brieﬂy to the Takemoto-za but then, with the puppeteer

Tatsumatsu Hachirobei as his partner, revived the Toyotake-za in

1706. For a time, the resident playwright at the Toyotake-za, Ki no

Kaion, had a brisk rivalry with the Takemoto-za’s Chikamatsu

Monzaemon.

Normally in second place to the Takemoto-za, it had a high point

in the late 1750s with the long run hit Gion Sairei Shinko

ki but ﬁres

destroyed it in 1761 and 1763. These, combined with the extravagant

lifestyle of Wakatayu

(now called Toyotake Echizen no shojo

), and

his death in 1764, were signs of trouble; in 1765, its history came to

an end. It was, however, opened sporadically during the following

years. Among the classics it produced during these later years were

Tamamo no Mae Asahi no Tamoto, Ichinotani Futaba Gunki,and

Hade Sugata Onna Maiginu.

TOYOZAWA DANPEI II (1828–98). A bunraku shamisen player,

famous for having made various revolutionar y technical and aes-

thetic changes to his art. He was the adopted son of chanter Takem-

oto Chigadayuˆ, became the pupil of Toyozawa Hirosuke III at 12,

and debuted as Toyozawa Rikimatsu. In 1842, he became Toyozawa

Ushinosuke, changing to Danpei II in 1844 when he was chosen to

be the partner of Takemoto Nagatodayu

III. He became the accom-

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TSUBO-ORI • 407

panist to a string of outstanding chanters (especially Takemoto Har-

utayu

V and Takemoto Koshijidayuˆ [the future Takemoto Settsu no

daijo

]) through the Meiji period. In 1883, he became monshita at the

Bunraku-za, where he had been since its 1872 founding. The idea

of naming a shamisen player monshita was controversial as the posi-

tion was traditionally that of a chanter. Therefore, three heads were

named, one each for the shamisen,thepuppeteers (Yoshida

Tamazo

), and c ha nt er s (Ko sh ij id ayu

). Never t he le ss, h e t ra ns ferred

the next year to the new Hikoroku-za, where he trained such greats

as Takemoto Settsu no daijo

and Takemoto O

sumidayu

III.He

fell into a coma during a performance and died soon after.

Danpei’s highly regarded compositions include Tsubosaka Rei-

genki and Ro

ben Sugi Yu

rai, whose texts were written by his wife,

Kako Chika. Although devoted to revivals of the classics he was

also a progressive, as seen in an 1891 play he wrote called Nikko

-zan

in which the michiyuki included a Westerner and words in garbled

English. There are many tales of his eccentricities, particularly his

disdain for money.

ZAI. ‘‘East-West,’’ the call for attention, like ‘‘Hear ye,’’ that begins

each bunraku performance. It is given by a puppeteer, who appears

in black tunic and veiled hood downstage left, beats two wooden

clappers (hyo

shigi) to draw attention, sonorously announces ‘‘to

zai,’’

recites the names of the chanter and shamisen player, and says to

zai

again, at which the performers raise their faces to the audience. The

chanter prepares his script with great reverence and th e pup pete er

says to

zai once more before exiting.

The convention exists in kabuki as

well prior to certain bunraku-

deriv

ed plays. In Kanadehon Chu

shingura, someone is heard saying

it from offstage right seven times, then someone else chants it from

offstage left ﬁve times, and ﬁnally it is heard from offstage center

three times. Sometimes it is spoken from the stage proper, as in bun-

raku,byakurogo or by the to

dori, who enters in kamishimo and

kneels to deliver the words.

TSUBO-ORI. A style of wearing the kosode (‘‘small sleeved’’) kimono

during the middle ages that was applied to the karaori,wornby

women in no

. The collar is turned back and spread wide at the breast.

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408 • TSUBOUCHI SHO

(1859–1935)

Its name, meaning ‘‘jar fold,’’ derives from the way the waist is hiked

up and tucked in around the obi, suggesting the shape of a jar. In

kabuki, it is worn by women in matsubame mono, such as Shizuka

in Funa Benkei and Mashiba in Ibaraki. See also COSTUMES:

KABUKI; COSTUMES: NO

TSUBOUCHI SHO

(1859–1935). Shin kabuki playwright who

also gained fame as a novelist, scholar, critic, and translator of

Shakespeare. He was born in Kamo City, Gifu Prefecture, and raised

in Nagoya. From the mid-1880s to 1815, he taught literature at To

kyo

Senmon Gakko

(Tokyo Academy, later Waseda University).

A devoted student of kabuki, but one concerned with reforming

some of to make it respectable in the modern world, he focused on

history plays (jidai mono) and dance dramas (see BUYO

). His major

plays were Kiri Hitoha (1904) and Hototogisu Kojo

no Rakugetsu

(1905), which—unlike earlier practice—had been published before

reaching the stage, and are considered the forerunners of the shin

kabuki style. Tsubouchi is thus considered a bridge between tradi-

tional kabuki and modern kabuki. He also advocated for innovations

in musical and dance drama (shin buyo

or New Dance) in serious

essays and in a variety of shin buyo

works, a number of which are

still performed.

Tsubouchi provided the ﬁrst complete Japanese translation of

Shakespeare’s plays, beginning with Julius Caesar (1884), originally

performed in the guise of a kabuki play. He was also a leader in the

theatrical reform movement, and founded a group that became the

Bungei Kyo

kai (Literary Society) in 1906, one of the ﬁrst modern

theatre groups in Japan. In 1928, Waseda University named its new

theatre museum for him.

TSUIZEN KO

GYO

. Since the Edo period, kabuki has regularly pro-

duced ‘‘memorial performances’’ on the death anniversary of some

famous theatrical ﬁgures. They began to gain signiﬁcant attention in

1905 when the Kabuki-za celebrated the third anniversary of Ichi-

kawa Danju

IX’s

death.

TSUKE. ‘

‘Wooden clappers’’ that are rhythmically beaten in kabuki on

a square wooden board (tsukeita) placed on the ﬂoor at downstage

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TSUMI MONO • 409

left. The job is handled by a kyo

genkata specialist, the tsukeuchi,

whodressesinblackanddoeshisjobwhilekneelingnexttothe

board. The beats emphasize the movement of the actors, as when

they run, ﬁght, strike mie, or say certain lines of dialogue; the tsuke

also heighten various kinds of stage action, such as the rising of the

seri traps. Among the methods used are hirote (‘‘single hand’’), a sin-

gle beat heard when something drops, someone is slapped, etc.;

batan, a double beat used when a sword strikes someone or a person

falls, etc. See also BATTARI; BATABATA.

TSUKIZERIFU. ‘‘Arrival dialogue,’’ in no

the announcement by the

waki of his arrival at a destination at the end of a michiyuki.

TSUME NINGYO

. Crudely made, minor, walk-on bunraku puppets,

typically with a comical yet homely everyman quality, handled by

only one puppeteer (in contrast to the standard sannin-zukai sys-

tem) and representing a host of characters, like policemen, travelers,

retainers, ladies-in-waiting, peasants, court ladies, etc. Instead of list-

ing the na mes o f the puppet eers, t he pr inte d pro gram simply says

zei (‘‘crowd’’). The puppeteer operates only the head and left arm;

the other arm remains lifeless and is sewn to the puppet’s kimono.

Despite the simplicity of these puppets, puppeteers insist that skill

is required to immediately establish their characters through walking

style, posture, and pace.

TSUMEYORI. A stylized acting method frequently seen in jidai mono

or shosagoto during confrontations between hostile individuals or

groups as they prepare to ﬁght by moving with a sliding shufﬂe-step.

Examples are the confrontation between Yoshitsune and Midaroku in

‘‘Kumagai Jinya’’ (Ichinotani Futaba Gunki) and between Togashi

and his men and Benkei in Kanjincho

TSUMI MONO. The Edo-period kabuki convention of promoting a

production by decoratively stacking outside the theatre large quanti-

ties of merchandise, including sake barrels, bales of rice, sacks of

charcoal, etc., donated by organized groups of supporters. (See

HIIKI; RENJU

.) Today, commercial companies supply the products

as an advertising device.

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410 • TSUNAGI

TSUNAGI. The brief interlude or ‘‘tying together’’ between scenes of a

kabuki play as a set is changed behind the closed curtain and the

tsuke are beaten lightly or music is played. See also MAKUAI.

TSUNBO SAJIKI. This ‘‘deaf man’s gallery’’ is the seating at the rear

par t of the second-story sajiki in Edo- peri od kabuki th eatr es. T he

name suggests the difﬁculty of hearing the actors from these seats.

TSUNOGAKI. An allusive two-line comment suggesting the theme and

contents of a bunraku or kabuki play. This ‘‘horn writing’’ was

painted on a title kanban during the Edo period. Examples include

‘‘Older sister Miyagino / Younger sister Shinobu’’ for Gotaiheiki

Shiroishi Banashi; ‘‘Takeda Shingen / Naga Shingen,’’ a reference to

the families who ﬁgure in Honcho

Niju

shiko

; ‘‘Sakaro no Matsu /

Ebira no Umi,’’ a reference to characters in Hirakana Seisuiki, etc.

TSURANE. Long monologues in kabuki associated with aragoto

entries on the hanamichi, where the hero proudly describes, in rhyth-

mic speech ﬁlled with allusive wordplay, his background, purpose,

and virtues. Originally, the actors themselves wrote these speeches.

The speeches have an underlying ritual purpose, the overcoming of

evil and the bestowal of good fortune, including the welcoming of

the new season in kaomise performances. Gongoro

in Shibaraku

delivers the representative examp le. Another speech classiﬁed as

tsurane is the medicine peddler’s tongue-twisting spiel in Uiro

-uri.

See also LANGUAGE; WARI ZERIFU; WATARI ZERIFU; YAKU-

HARAI.

TSURE. The ‘‘companions’’ who often accompany the shite or waki

in no

, embodying such roles as colleagues or attendants. Those that

accompany the shite are shitezure. Those accompanying the waki are

wakizure.Theactors themselves are, respectively, either shite or

waki. One or more lesser companions called tomo ma

also accom-

pany some shite. Tsure and tomo are, in most cases, the least devel-

oped of all no

characters, although some tsure have substantial roles,

like the wife in Hachi no Ki and the female tree spirit in Takasago.

The wakizure may take signiﬁcant action, as do the warriors who

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