Chikamatsu by C. Andrew. Gerstle, C. Andrew Gerstle

By C. Andrew. Gerstle, C. Andrew Gerstle

Chikamatsu Monzaemon (1653-1725), sometimes called "Japan's Shakespeare" and a "god of writers," used to be arguably the main recognized playwright in eastern heritage and wrote greater than a hundred performs for the kabuki and bunraku theaters. this day, the performs of this significant literary determine are played on kabuki and bunraku levels in addition to within the glossy theater, and forty-nine motion pictures of his performs were made, thirty-one of them from the silent era.Translations of Chikamatsu's performs can be found, yet we have now few examples of his past due paintings, within which he more and more integrated stylistic components of his shorter, modern dramas into his longer interval items. Translator C. Andrew Gerstle argues that during those mature historical past performs, Chikamatsu depicted the stress among the non-public and public spheres of society through combining the wealthy personality improvement of his modern items with the bigger political issues of his interval items. during this quantity Gerstle interprets 5 performs -- 4 histories and one modern piece -- by no means prior to on hand in English that supplement different collections of Chikamatsu's paintings, revealing new dimensions to the paintings of this nice eastern playwright and artist.

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One can either ignore the notation in the text or see it as a guide to the play’s structure and performance technique, the original stage directions of the first production. The notations also reinforce the fact that Chikamatsu’s plays are musical dramas that exploit histrionic techniques and conventions similar to those of opera and other musical theater. The high note designated in the text by kami (translated as “high pitch” or “highest pitch”) is used sparingly in performance and signals that here we are striving for the heights of aria-like intensity, a lyrical expression of the emotional pain of tragedy.

Perhaps because he wrote for puppet theater, Chikamatsu emphasized the need for realism ( jitsu, jitsuji) in the depiction of characters; that is, their words must suit their station and rank. He nevertheless distinguishes between the exact representation of reality on the stage and the presentation of reality as art. In response to a comment that his contemporary audiences demand realism, Chikamatsu answers with perhaps the most famous passage of this essay: Art is something which lies in the slender margin between the real and the unreal.

He is captured by tengu goblins. Yoshida Retainers Kanenari (Awaji no Zenji Kanenari): loyal senior councillor in the Yoshida household, father of Sota. Takekuni (Shikken Agata Gon on Kami Takekuni): Yoshida’s senior councillor, a brave, upright, and loyal figure. 42 Twins at the Sumida River Gunsuke: a lowly retainer of Yoshida, brave, strong, and loyal, a flamboyant, no-nonsense, brash figure. Hitachi Household Momotsura (Hitachi no Daijo Momotsura): Yoshida’s brother-in-law, elder brother of Lady Yoshida.

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