Puppet Master

Japanese: 傀儡師 - かいらいし

Name of Japanese piece. (1) Nagauta. One of the Gekibushi trilogy composed by Kineya Saburosuke IV (Kineya Rokuzaemon 10) with the intention of reviving Gekibushi. Also known as Geki Puppet Master. It is said to have been written in Bunsei 12 (1815). (2) Kato-bushi. Original title: Ukiyo-Kagurumi. It is said to have been a joruri piece borrowed from Gekibushi. (3) Kabuki dance piece, Kiyomoto. Original title: Mata Atarashiku Mitsu no Sakazuki. One of the three transformations. First performed in Bunsei 7 (1824) at the Edo Ichimura-za Theatre by Bando Mitsugoro III. Lyrics by Sakurada Jisuke II, music by Kiyomoto Saibei I, choreography by Matsumoto Goroichi. Influenced by the previous pieces (1) and (2). This is a dance based on the customs of street puppeteers, and the puppeteers (dancers) perform a variety of themes, such as the story of the three sons from the Gaikibushi "Puppeteer", the chobokure of the Bencho who interferes with Oshichi Kichizo's love life, the love story of Ushiwaka and Jorurihime, and Funa Benkei, with their own unique movements. There is also a performance in which a Chinese child appears at the end of the act.

Puppet master

An old name for a puppeteer. It can also be written as "Kagatsushi." In China, a puppet was called a puppet, and in Japan during the Heian period, the ancient Japanese word "kugutsu" was used, and puppeteers (puppeteers) were called "kugutsu" or "kugutsumawashi." There is also a theory that Japanese puppeteers were immigrants. In ancient times, they formed groups, with the men hunting and the women prostituting themselves, and they turned the puppets. In the late Middle Ages, ebisukaki, descendants of kugutsu, made Nishinomiya Shrine in Settsu their base, and traveled around the country, holding wedding ceremonies and turning ebisukaki puppets. From the end of the 16th century to the beginning of the 17th century, some of them partnered with joruri and established puppet joruri. In contrast, puppeteers who did not enter a theater but instead performed in the streets with a box stage for the puppet hanging from their necks were also called puppeteers, but this style fell into decline after the late modern period.

Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information

Japanese:

邦楽曲名。 (1) 長唄。4世杵屋三郎助 (10世杵屋六左衛門) が，外記節 (げきぶし) 復活を意図して作曲した外記節三部作の一つ。別称『外記傀儡師』。文化 12 (1815) 年の作といわれる。 (2) 河東節。本名題『浮世傀儡師』。外記節からの預り浄瑠璃といわれる。 (3) 歌舞伎舞踊曲，清元。本名題『復新三組盞 (またあたらしくみつのさかずき) 』。三変化の一つ。文政7 (1824) 年江戸市村座，3世坂東三津五郎初演。作詞2世桜田治助，作曲1世清元斎兵衛，振付松本五郎市。先行曲 (1) (2) の影響を受ける。街頭の人形遣い (傀儡師) に取材した風俗舞踊で，外記節『傀儡師』から三人息子の物語，お七吉三の恋路をじゃまする弁長のちょぼくれ，牛若と浄瑠璃姫の恋物語，船弁慶など多彩な題材を，人形遣い (踊り手) がみずからを人形に見立て，変化のついた振りでみせる。幕切れに唐子を出す演出もある。

傀儡師
かいらいし

人形遣いの古称。「傀儡子」とも書く。中国で操 (あやつり) 人形を傀儡と呼び，日本では平安時代に，日本古来の「くぐつ」の語をあて，人形遣い (傀儡師) を，「くぐつ，くぐつまわし」などと称した。日本の傀儡師は渡来人であったという説もある。古代には集団をなし，男子は狩猟，女子は遊女を業とし，人形を回した。中世後期になると，くぐつの系統をひく夷舁 (えびすかき) は，摂津西宮神社を根拠地とし，祝言を述べ，夷の人形を回しながら各地をめぐったが，16世紀末から 17世紀初めに，彼らの一部は浄瑠璃と提携，人形浄瑠璃を成立させた。これに対し，劇場に入らず，人形の箱舞台を首にかけて街頭を流す人形遣いは，やはり傀儡師と呼ばれたが，近世後期以後は衰微した。

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