This refers to the schools of puppet theater that existed before the Gidayubushi style. The Twelve Stages of Joruri, which began to be told in the 15th century, formed a genre of storytelling, and in the late 16th century to early 17th century, puppet theater was established by combining it with shamisen and puppets, and performances were held in Edo, Osaka, and Kyoto until around the end of the Kyoho era (1735). Famous tayu in Kamigata were Uji Kaga no Jō, Yamamoto Kakudayū, Inoue Harima no Jō, Ito Dewa no Jō, and Okamoto Fumiya, and in Edo, Sugiyama Tango no Jō and Satsuma Jōun. Each devised a different style of storytelling and established their own school. Until the middle period, most of the works were six-stage, and in the later period, most were five-stage. Many of the works were adaptations or imitations of Otogi-zōshi and Kōwaka dance, and the overall style was strongly storytelling, but the plays were immature. Later, in Edo, fantastical and superhuman heroic tales (→ Kinpei-bushi) arose, influencing the Kamigata region as well, leading to the development of melodic and melodic tales in Osaka and emotional and subtle melodies in Kyoto, respectively, which led to an improvement in literature. As the years went on, the interpretation of human feelings became more modern, and this marked the transition to the establishment of Gidayu-bushi and the development of the Toryu Joruri school. Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information |
人形浄瑠璃の義太夫節以前の諸流派をいう。 15世紀に語りはじめられた『浄瑠璃十二段草子』が語り物の一ジャンルを形成し,16世紀末~17世紀初めに,三味線,人形と結んで人形浄瑠璃芝居を確立,以後享保末年 (1735) 頃まで江戸,大坂,京都で興行された。太夫は,上方では宇治加賀掾,山本角太夫,井上播磨掾,伊藤出羽掾,岡本文弥,江戸では杉山丹後掾,薩摩浄雲らの名が知られる。それぞれ異なった語り方を工夫して,一流一派を立てた。作品は中期までは6段物が多く,後期には5段物が多い。御伽草子,幸若舞曲の改作や模倣作が多く,全体に語り物性が濃厚で戯曲としては未成熟であった。その後江戸に空想的,超人的な武勇もの (→金平節 ) が起り,上方にも影響を与えて,大坂では旋律性の豊かな節事が,京都では繊細な曲節による情緒的余情が加えられ,文学面でも向上。年代が下るにつれ,人間感情の解釈に近世化がみられるなど,義太夫節成立,当流浄瑠璃への過渡的様相を示した。
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