JIC: Japan Infomation Communication

Rakugo

                                              ~Rakugo slangu~

・お囃子(Ohayashi): Musical Interlude

・三味線 (Shamisen): The three-stringed lute-like instrument. There is no written music for the Shamisen; rather, music is conveyed by sound. Becoming a professional Shamisen player takes about ten years of training with a Master.

・ ちりとてちん (Chili-tote-chin): It is how the sound of Shamisen is expressed

・ 忍者 (Ninja): The undercover guard and spy for a Shogun or a powerful personnel.

・ 二人羽織 (Ninin-baori): Two people perform on stage, acting as one; one person plays the arms and the other plays the head. They attempt to accurately match the motions with the monologue. We will ask the audience to join this performance.

・ 玉すだれ (Tama-sudare): Bamboo blinds are transformed into various shapes

http://www.english-rakugo.com/performance.html

                                       

                                            About rakugo

What is rakugo? Rakugo is Japanese "sit down" comedy. It is a traditional form of comic story telling that began in the early 17th century. Rakugo originates from monks' sermons at temples. In order to keep the audience interested, those preaching spiced up the sermons with occasional comic tales. While kabuki, noh and kyogen were to entertain the nobility, rakugo was an art form to appeal to the plebeian audience. Of course, the modern rakugo performer is no longer a monk but a professional actor and comedian, or talento in Japanese.

Rakugo is a reasonably priced live entertainment. An ordinary rakugo performance costs between \1000 and \1200 for an audience of fifty to one hundred people. Performances are often staged in meeting rooms in temples, community centers or schools as well as other public buildings and theaters. Usually a live performance features three rakugo story tellers, called rakugoka in Japanese, who tell four stories. The junior performer goes first and the senior of the trio finishes up the set, telling two stories. The total time is about 90 minutes.

Rakugoka kneel down and sit with their legs under them in traditional Japanese fashion. They have a cushion (zabuton) under them, and carry a folding fan (sensu), and a towel (tenugui). Rakugo stories are accompanied by music provided on the shamisen, flute (fue), and Japanese drums. Generally, rakugoka play the drums and flute for themselves. Shamisen accompaniment is more often provided by professional shamisen players, who are usually older women. Performers appear in kimonos and traditional Japanese garb, down to the undergarments.

Stories are about 15 to 20 minutes on average. Long stories can be up to an hour, though they are rarely told. Katusra Beicho, a veteran rakugoka who has been designated a living national cultural treasure (kokuho) by the Japanese government, if famous for telling such long stories. Some of his stories are revived from the Edo period, which ended in 1868. Katsura is the name of a "family" of rakugo performers. There are five branches in the Kansai area - Katsura Beicho, Katsura Bunshi, Katsura Harudanji, Hayashiya, and Shofukutei, another Katsura family branch. In Tokyo, where the dialect used is different, stories and style are different. There are several rakugo families there.

http://www.demaru.com/e/

                                                        Shoufukutei Kakushow

"...This is to endorse that Mr. Shoufukutei Kakushow, a traditional comic storyteller (Rakugo performer), was awarded the Japanese Minster of Education's Art Encouragement Prize for New Artists in the field of popular entertainment in the year of 2002 for cultivating an original form of comedy ‘puppet rakugo’. His performance has been notably played abroad and highly regarded especially for his recent performance “Alice in Wonderplanet” which is about saving the planet from environmental destruction. He is a highly promising artist and worldwide entertainer.

The Minister of Education’s Art Encouragement Prize and the Art Encouragement Prize for New Artists are presented to selected persons whose outstanding achievements have opened up new vistas in a given year. The Art Encouragement Prizes for New Artists are awarded to only one person in each of the 10 fields: drama, film, music, dance, literature, fine arts, classical arts, broadcasting, poplar entertainment, and criticism.”

http://www.kakushow.com/e-art_prize.html

Posted by Keiichi Nozawa

Rakugo Performance

                                            Rakugo Performance

On Monday May 22, ANU hosted a Rakugo Performance, at the Great Hall in University House. Part of the ongoing celebrations for the 2006 Australia-Japan Year of Exchange, this event was sponsored by the Japan Foundation, the Rakugo Artists Association of Japan.

The three performers captivated their audience with three different styles of Yose (寄席) Theatre: Rakugo 「落語」Story Telling performed by Sanshōtei Charaku (三笑亭茶楽), 「のこぎり漫談(まんだん)」Nokogiri Mandan (musical saw) played by Miyakoya Utaroku(都家歌六) — who you may all be familiar with as he played the old ramen maker in the Itami Jūzo movie Tanpopo, who taught the central character how to make a good ramen soup— and 「紙切(かみき)り」Kamikiri (paper cutting) performed with amazing speed and dexterity by Hayashiya Imamaru (林家今丸). Yose theatre is a Japanese-style vaudeville performance, which began in the 17th Century as a form of entertainment for townspeople, usually held on the grounds of temples and shrines. Priests used amusing stories to illustrate their sermons. Later when the stories entered the secular world, they retained some of their religious origins, which is why some rakugo stories are peopled with ogres and demons from the Buddhist hell, or even poke fun at pompous priests. These days characters can range from dim-witted samurai to drunken accountants.

The evening began with a short introduction to Rakugo. Sanshōtei Charaku noted that Rakugo performers only use two props, a fan and a small cotton cloth. Alaine Douglas, a Japan Centre student, was selected from the audience to help demonstrate how to use a fan as a pipe, first filling it with tobacco, then lighting it, puffing out the smoke and finally tapping off the ashes—and received a fan for her pains.
The first Rakugo performance of the evening, entitled 「紙入(かみい)れ」“The Wallet” was all about a young man who accidentally leaves his wallet at his married lover’s house. To make matters worse it contains an incriminating letter from the lover/wife which might give them both away. What is more, the cuckolded husband is his own boss, and it is this very boss who gives the young man advice on how to cope with the situation little knowing that it is he himself who is the cuckold.

The audience was then treated to a performance of the musical saw, in which Miyakoya Utaroku, with only a bow and a typical wood cutting saw, played the music of the Tango, Mozart’s Marriage of Figaro—celebrating the 250th anniversary of his birth—, followed by some jazz and Elgar. After an intermission for sake and senbei, we were entertained with a very skilful paper cutting show, where Hayashiya Imamaru rapidly cut a number of figures including a maiko dancing girl, and a mikoshi portable shrine being carried by six bearers. Then asking for ideas from the audience, he cut both a koala—although he had to check whether or not it had a tail—and a rabbit (see picture). His pièce de resistance was profiling audience members, beginning with Lucia Skerlikova (currently studying Spoken Japanese 3) and then choosing none other than our own Faculty Executive Officer, Gordon Hill (see below, or pop into Gordon’s office to see the framed original).

The evening concluded with a performance of 「船徳(ふなとく)」“Toku the Boatman” a comic tale of a rather lazy young man who wants to become a boatman. He has much to learn about his chosen trade, as he keeps losing his oars and banging into the bank. Watching Sanshōtei Charaku swaying back and forth as the client fighting to light his pipe as the waves hit his craft was a particularly memorable moment.

The Japan Centre would like to thank the College of Asia and the Pacific for their support and the ANU Japan Club for all their efforts setting everything up.

http://asianstudies.anu.edu.au/weblog/index.php?/archives/58-Rakugo-Performance.html

                          Rakugo Performers

MC/Producer
Kimie Oshima, Ph.D.

Ph.D. in Sociolinguistics, Associate Professor at Bunkyo Gakuin University.
Started producing Rakugo in English in 1996 and takes Rakugo tour to the world every year. A speaker of "Hello from Tokyo", NHK International Broadcasting Radio. Also performs original stories of Rakugo in English.

Performer
Katsura Kaishi

A Rakugo performer since 1994 started Rakugo in English in 1998. Has experienced performing in US, Canada, Singapore, Australia, etc. with Oshima's producing. Won a prize of Osaka Cultural Prize 2001, in division of performing art.  Katsura Kaishi

Performer
Katsura Asakichi

A Rakugo performer since 1993 started Rakugo in English in 2000. Started participating Oshima's world tour since 1998. Won a prize of NHK Comedy Performance in 2001. Plays many Japanese instruments. katsura Asakichi

Performer
Shofukutei Kakushow

A Rakugo performer since 1984. Performs his own original style of Rakugo, puppet Rakugo. Unlike regular Rakugo, he uses many types of equipment. Has a high reputation at major Comedy Festivals such as the ones in Monitorial, Melbourne.  Shofukutei Kakushow

Performer
Diane Orrett

A balloon street performer from England, Liverpool. Has lived in Japan for 10 years. Interested in Japanese Kimono, tea ceremony, and flower arrangement.

http://www.english-rakugo.com/english_version/english_performers.html

                                                         Posted by Keiichi Nozawa

Theather

Shiki Theatre Company

Shiki Theatre Company (劇団四季, Gekidan Shiki^?, Lit. Four Seasons Theatre Company) is one of Japan's most well-known and largest theater companies. Shiki Theatre Company employs over 800 actors and staff, and stages about 2800 performances a year. Shiki Theatre Company operates nine theaters for their exclusive use. Originally, they staged classic plays by Jean Anouilh or Jean Giraudoux. However, in the late 1970s, they found success by staging western musicals and plays.

Ongoing Productions

●CATS　

Tokyo:Open-end run. Tickets available through Aug.31,2008
The CATS Theatre

This information was found here.

●THE LION　KING

Tokyo:Open-end run. Tickets available through Aug.31,2008
Shiki Theatre HARU,Tokyo
Fukuoka:Open-end run. Tickets available through Mar.31,2008
Fukuoka City Theatre,Fukuoka

                         This information was found here.

TAKARAZUKA REVUE

～Takarazuka history～

The Takarazuka is the first troupe to introduce the revue to Japan. "Mon Paris", staged in 1927, heralded the arrival of the revue era. All performers are women - a unique feature, considering the composition of other revue companies around the world. The first performance of the Takarazuka was in 1914. The troupe changed its name to The Takarazuka Revue Company in 1940, and divided into separate groups called "Flower", "Moon", "Snow", "Star", and "Special Course" which have performed predominantly at the home stage in Osaka, the Takarazuka Grand Theater.

In 1938, the Takarazuka held its first overseas performance in Europe, then continued to win the admiration of audiences in United States, Canada, China, and the other countries. Moreover, the troupe introduced such Broadway musicals as "West Side Story", brought to the stage masterpieces like "Gone with the Wind", and in 1974 made a great hit of "The Rose of Versailles".
The women who provide this wonderful entertainment learn the necessary acting skills and etiquette fitting of their high-profile place in society at the Takarazuka Music School which was founded in 1913.

For the first time in 65 years, the fifth revue troupe "Cosmos" was born in 1998. The new Takarazuka Revue's performance will continue to be concentrated at the Grand Theater while recitals for top stars and performances training for younger company performers will be held at Bow Hall, Tokyo Takarazuka Theater and at other venues abroad. The Takarazuka Revue Company continues to provide dreams and inspiration.

This information was found here.

New National Theater

The New National Theatre, Tokyo (NNTT) is a centre for the performing arts, including opera, ballet, contemporary dance and drama. It is located in the Shinjuku area of Tokyo.

Construction of the New National Theatre, Tokyo (conceived as the second national theatre of Japan), was completed in February 1997, with its first public performances taking place in October 1997. The centre has been praised for its architecture and state-of the-art modern theatre facilities, among the best in the world, but criticized for its bureaucratic arts administration. While generously financed by the Japanese government, major conductors, directors and singers have complained that their creativity has been restricted by the style of the theatre management.

 

Posted by Asami Omata

Kanzaburo Nakamura

Nakamura Kanzaburō XVIII born Noriaki Namino. He is a Japanese actor active in kabuki, other forms of live theatre, television and commercials. Kanzaburō is a versatile actor whose credits include farce, period pieces, and Shin Kabuki.

He made his debut under the name Nakamura Kankurō V in April 1959 in the role of Momotaro. His kabuki credits under that name include roles in Kagami-jishi, Kamiyui Shinza and Yotsuya Kaidan.

In addition to performing at the Kabuki-za and other kabuki venues, Kankurō helped establish the Heisei Nakamura-za, a temporary kabuki stage erected for  only one set of performances, in a variety of locations. He has erected it, and performed on it, in Asakusa (Tokyo), Osaka, and, in 2004, on a US tour, performing in Boston, New York, and Washington DC. The Heisei Nakamura-za performed again in New York and Washington in 2007.

Noteworthy television roles include Imagawa Yoshimoto in the 1988 Taiga drama Takeda Shingen, Oishi Kuranosuke in the 1999 Taiga drama Genroku Ryoran, Terumasa Ikeda in 武蔵 iMUSASHI (2003), and a TBS special Koyoi wa KANKURO. Commercial endorsements include Contac, Japan Post, JT, Suntory and Tokyo Mitsubishi Bank.

He took the name Kanzaburō at a shumei on March 3, 2005.

He is an actionist, and things as movie and commercials apper a lot, too.

(This information was found here.)

An apperance work

・Yajikita dôchû Teresuko (2007)

・Nezu no ban (2005)

・Kono mune ippai no ai wo (2005)

・Waga koi waga uta (1969)

Yotsuya kaidan (1966)

Fuefukigawa (1960)

Kyo mo mata kakute ari nan (1959)

Heisei Nakamuraza

Since the 17th century, the Nakamura family has been synonymous with the world of Kabuki, and this  season, the Festival presents three members of this revered dynasty. Nakamura Kanzaburo XVIII is joined by his two sons, Kantaro II and Schichinosuke II, and his famed theater troupe for performances that return the Kabuki art form to its original bawdy roots in street theater. Instilling Kabuki’s’ centuries-old heritage with humor and contemporary references, these Kabuki masters display total command of this ancient art form.

The Heisei Nakamura-za’s appearance at the Festival begins spectacularly with a single performance of Renjishi, the legend of a father lion teaching his children about the rigors of survival. This vibrant piece closes with a brilliant dance, featuring extravagant costumes and vivid leonine masks. The company goes on to present ten performances of Nakawa Shimesuke’s Hokaibo, a work showcasing Kanzaburo as the central character, a rascal with the garb of a priest, but the appetites and adventures of a cunning rogue. This will be the company’s first New York visit since its acclaimed, sold-out North American debut at Lincoln Center Festival 2004.

(This information was found here.)

post by Yuji Hamano

Kabuki

  Kabuki(歌舞伎, kabuki) is a form of traditional Japanese theare. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by its performers. The individual kanji characters, from left to right, mean sing (歌), dance (舞), and skill (伎). Kabuki is therefore sometimes translated as "the art of singing and dancing." These are, however, ateji, characters that do not reflect actual etymology. The word kabuki is believed to derive from the verb kabuku, meaning "to lean" or "to be out of the ordinary", so kabuki can be interpreted to mean "avant-garde" or "bizarre" theatre. The expression kabukimono (歌舞伎者) referred originally to wild urban gangs of young eccentrics who dressed outrageously and had strange hairstyles.

  History:

The history of kabuki began in 1603, when Okuni, a miko (young woman in the service of a Shinto shrine) of Izumo Taisha, began performing a new style of dance drama in the dry river beds of Kyoto. Female performers played both men and women in comic playlets about ordinary life. The style was instantly popular; Okuni was even asked to perform before the Imperial Court. In the wake of such success, rival troupes quickly formed, and kabuki was born as ensemble dance drama performed by women—a form very different from its modern incarnation. Much of its appeal in this era was due to the ribald, suggestive performances put on by many troupes; this appeal was further augmented by the fact that the performers were often also available for prostitution. For this reason, kabuki was also written "歌舞妓" (singing and dancing prostitute) during the Edo Period.

Since kabuki was already so popular, young male actors took over after women were banned from performing. Along with the change in the performers' gender came a change in the emphasis of the performance: increased stress was placed on drama rather than dance. Their performances were equally ribald, however, and they too were available for prostitution (also to male customers). Audiences frequently became rowdy, and brawls occasionally broke out, sometimes over the favors of a particularly handsome young actor, leading the shogunate to ban young male actors in 1652.

(This information was found here.)

Kabukichō (歌舞伎町, Kabukichō) is an entertainment and red-light districtred in Shinjuku, Tokyo, Japan. Kabukichō is the location of many hostess bars, host barshost, love hotels, shops, restaurants, and nightclubs, and is often called the "Sleepless Town" (眠らない街). The district's name comes from late-1940s plans to build a Kabuki theater: although the theater was never built, the name stuck.  The area has many movie theaters, and because it is located near Shinjuku station, Seibu Shinjuku station, and several other major railway and subway stations, tickets to its top attractions can be scarce.  Some of Tokyo's finest  restaurants are located in Kabukichō. As more than one wit has observed, Kabukichō consists of the high-class, low-class, and no-class, all in one relatively small area.  The offices of the city government of Shinjuku are also in Kabukichō.

(This information was found here.)

kabukiza(歌舞伎座) in  Ginzza is the principal theater in Tokyo for the traditional kabuki drama form.  It opened in 1889, and is one of the city's finest extant examples of Meiji-era construction using Western materials in traditional Japanese a architectual styles.  The building was originally constructed as the Tokyo residence of Kumamoto clan.

The building was destroyed in afire in 1921, and was uncompleted when the 1923 kanto earthquake struck.  It was rebuilt in a baroque Japanese castles of the 16th century; The theater was again, as a reconstruction of 1924 structure, and today remains one of Tokyo's more dramatic and traditional buildings.

Performances are held nearly every day at Kabukiza, and tickets are sold for individual acts well as for the play in its entirety.

This is Kabukiza Official  Site...here

Posted by Yuji Hamano

Theater

Japanese theater

●Kabuki theater

Kabuki-za is the best theater. It is located in Ginza, Tokyo. (03-3541-3131) Kabuki performance are held year around in the Kabuki-za, except for August. You can buy tickets at the theater box office or reserve them on the phone.　Click on this for further detailes.→http://www.kabuki-za.co.jp/

Kabuki performances are usually very long and consist of many acts. If you are new to Kabuki, or don't have much time, you can view one act from the 4th floor. This area is available for people who can't stay through the whole performance, so they can leave during the break between acts without disturbing other people. The tickets for one act are called Makumi. These tickets are not sold in advance, but are available 20 min before each act. For visitors who want to save time and money, it might be a good idea to buy this ticket. (The earphone guide is not available here though.)

●Shinbashi enbujo

August 1953: revival of Chikamatsu Monzaemon's masterpiece "Sonezaki Shinjû" at the Shimbashi Embujô, based on a new script written by Uno Nobuo and staged with the following casting:

Roles	Actors
Hiranoya Tokubei	Nakamura Ganjirô II
Temmaya Ohatsu	Nakamura Senjaku II
Aburaya Kuheiji	Arashi Kichisaburô VII
Hiranoya Kyûemon	Bandô Minosuke VI
Temmaya Sôbei	Asao Okuyama IV

Click on this for further detailes.→http://www.shochiku.co.jp/play/enbujyo/index.html

●Osaka kabikiza

This large, elegant theater has seating for almost 2,000 and is often fully booked, which is an indication of the quality of the performances it stages. Oddly enough, kabuki is usually only performed in May. For the rest of the year, it stages manzai, or two-man comedy acts, with some of the top artists of this genre; modern drama; and popular variety shows. There is a restaurant that serves Japanese food and alcoholic beverages as well as lunch boxes, a coffee shop, and a shop that sells theater memorabilia.

●Minamiza

Built in 1615, and boasting nearly 400 years of history, the Minamiza is Kabuki at its finest. Though plays are continually running throughout the year, the Minamiza takes particular pride in its December Kaomize performances. Japan's most famous thespians "show their faces" before their admiring audiences. The pace of the drama may be a bit slow for some tastes. Try to catch a "dance" segment if you prefer more action than pageantry on stage.

Click on this for further detailes.→http://www.shochiku.co.jp/play/minamiza/gekijyo/

posted by Asami Omata

Noh

Noh ~classical Japanese performance~

●Background to Noh

Noh is a classical Japanese performance form which combines elements of dance, drama, music and poetry into one highly aesthetic stage art. Largely based in the cities of Tokyo, Osaka, and Kyoto, it is performed throughout the country by professional artists, mainly men, who have passed down the art among family members for numerous generations. There is also a wide following of both male and female amateurs who practice and perform its chant, dance, and instruments. 

●Noh history

Noh developed into its present form during the 14th and 15th centuries under the leadership of the distinguished performer-playwrights Kannami and his son Zeami. Zeami, in particular, wrote numerous plays which are still performed in today’s classical repertory of some 250 plays. He also wrote a number of once secret works which explain the aesthetic principles governing noh and give details on how the art should be composed, acted, directed, taught, and produced noh flourished during Zeami’s time under the patronage of the military shogun Ashikaga Yoshimitsu. Later during the Edo period (1603-1868), noh became the official performance art of the military government. Feudal military lords throughout the country supported their own troupes and many studied and performed the art themselves. With the societal reforms of the Meiji period (1868-1912), noh lost its governmental patronage and was left to fend for itself. Although it nearly died out, enough performers regrouped, found private sponsors, and began teaching the art to amateurs so that it slowly began to flourish again. Today, like many classical performance forms throughout the world, noh cannot be described as a popular art among the average Japanese. Yet its supporters are enthusiastic and its professional performers are highly trained and extremely busy performing and teaching throughout the country. There are today approximately 1,500 professional performers who make their living largely through performing and teaching noh.

●Noh masks

Noh Masks are worn as stage properties that can express devil, ghost and beauty. Shite (Main Character) basically wears Masks. In case they do not wear masks, still they play as if they wear mask and it is called Hitamen (literally means skin-direct mask). People usually said that it is like a Noh Mask for emotionless face (especially women masks such as Ko-omote), however, Masks can express all the emotion such as anger, happiness and sadness with a slight movement, light reflection and the tone of songs and music. In fact, the facial expression of the woman masks are neither totally lacking in emotion nor in a state of transition from one emotion to another, but rather that it goes beyond all specific emotional expression. Neglecting any human qualities and identities, it makes possible for them to express any and all the vast range of human emotions and personality. You also note that on the other hand, extremely violent expression in Hannya masks.　

●Noh stage

The basic form of the stage was fixed during the times of Hideyoshi and Iyeyasu. The area underneath the stage will have five earthen jars to make the sound of the singing and feet-stamping reverberate. These five jars are in the areas bounded by the pillars. Two more jars are under the musician's area, and three more under the bridge. The ground underneath the stage is hollowed out to a five-foot depth.

The Noh stage is not going to be filled with various props like you might see in an American play. Even when an object is on the stage, it's exact form is not. A tomb, for example, might be represented by four upright poles topped by greenery. In relation to the distillation-approach of Noh, the object appears in a reduced form, represented by what amounts to outlines of the "real" object.

Objects can also be used as indicators. A woman might carry a twig of bamboo, the bamboo used to indicate her insanity.

 

Posted by Asami Omata

Rakugo

RAKUGO

   Rakugo is a sit-down comedy where a performer on his knees performs monologue ending with skillfully delivered punch lines called ochi(落ち)

Professional rakugo　storytellers are called rakugoka  (落語家)　or hanasika (話家)

  To learn about rakugo, visit the English Rakugo Website.

History

   

  The origin of this art form can be traced back to the story collection Uji Shui Monogatari (1213-1218). Gradually the form turned from humorous narrative into monologue, probably upon the request of the daimyo, feudal lords, seeking people skilled enough to entertain them with various kinds of storytelling.

During the Edo period (1603–1867), thanks to the emergence of the merchant class of the chonin, the rakugo spread to the lower classes. Many groups of performers were formed, and collections of texts were finally printed. During the 17th century the actors were known as hanashika (lit. “storyteller”), corresponding to the modern term, rakugoka (lit. “person of the falling word”).

Before the advent of modern rakugo there were the kobanashi: short comical vignettes ending with an ochi, popular between the 17th and the 19th century. These were enacted in small public venues, or in the streets, and printed and sold as pamphlets. The origin of kobanashi is to be found in the Kinō wa kyō no monogatari (Yesterday Stories Told Today, circa 1620), the work of an unknown author collecting approximately 230 stories describing the common class.

  Shōzō Hayashiya (9th) (九代目 林家正蔵 Kudaime · Hayashiya Shōzō, real name Yasutaka Ebina (海老名 泰孝 Ebina Yasutaka), and formerly known as Kobuhei Hayashiya (林家こぶ平 Hayashiya Kobuhei)) is a rakugoka, tarento and seiyū born on December 1, 1962 in Negishi, Taito-ku, Tokyo, Japan. He is an associate professor of humanities at Josai International University.

Rakugo performer

Katsura Asakichi in Time Noodle

Began his professional Rakugo career in 1993. Joined Oshima's world tour in 1998. Won the NHK Comedy Performance prize in 2001. Plays various traditional Japanese instruments, including the flute

Katsura Kaishi in A Man in a Hurry

A professional Rakugo performer since 1994; started English Rakugo in 1997. Has made over 50 performances in US, Canada, Singapore, Australia, England.  Performed Rakugo at the Sydney Olympics.  In 2001 won the Osaka Cultural Prize in performing arts. Kimie Oshima in Pot Mathematics

Associate Professor at Bunkyo Gakuin University in Tokyo, has a Ph.D. in Sociolinguistics.  Started producing Rakugo in English in 1996 and takes English Rakugo to the world every year.  Also performs original Rakugo stories in English.

Current Performers

Current rakugo artists include Tatekawa Danshi, Tachibanaya Enzou, Katsura Sanshi, Tachibanaya Takezou, Tatekawa Shinosuke and Shōzō Hayashiya (9th). Furthermore, many people regarded as more mainstream comedians originally trained as rakugoka apprentices, even adopting stage names given them by their masters. Some examples include Sanma Akashiya, Tsurube Shōfukutei, and Shōhei Shōfukutei.

 Akashiya Sanma (Wakayama Prefecture, 1955- )
Known simply by his first name, Sanma is one of Japan's noisiest and best-loved comedians. In fact, he has topped the NHK poll for most popular male star for three years in a row.

Posted by Keiichi Nozawa

Ichikawa Ebizo

Ichikawa Ebizo XI, (11代目市川海老蔵) born December 6, 1977, Tokyo, is the eleventh and current holder of the Ebizo name. He is a famous Kabuki and television actor and heir to the prestigious Ichikawa clan of kabuki actors.

The son of Danjuro XII (the current head of the family), he began his career at the age of six in the play Genji Monogatari, 1983. In 1985 he was bestowed the name shinnosuke VII and continued to perform in kabuki under this name until 2003. In that time he made his first television appearance in 1994 in the NHK Taiga drama, Hanna no Ran, which stared his father.

In 2002-2003, he would make his first staring television roll as the great Samurai, Miyamoto Musashi, in the NHK drama, MUSASHI. During the corse of the seriese, he had developed a romantic relationship with fellow cast member and lead female actress,Ryoko Yonekura . After the show's run, he once again stared as the great warrior in a kabuki drama about Musashi. He would go on to take part in several plays before his name was changed to Ebizo XI in May 2004.

Since then he has stared in several comercials, and stared in his first film roll, Deguchi no Nai Umi, 2006. He is currently still acting in Kabuki, making tours in Europe and various other provinces in Japan.

(This information was found here)

May ~ June 2006: Kabuki tour in Western Europe, in London at the Sadler's Wells (31 May~11 June) and in Amsterdam at the Stadsschouwburg (15~18 June); Ebizô plays the roles of the spirit of the wisteria and Yoemon in "Fuji Musume" and "Kasane".

March 2007: tour in Paris (France); Ebizô plays at the Palais Garnier the roles of Benkei/Togashi (in alternance with his father) and Princess Sarashina (in reality the ogress of Mount Togakushi) in the dance-dramas "Kanjinchô" and "Momijigari", which celebrate the Ichikawa clan.

(This information was found here)

This movie is Deguchi no Nai Umi.  It is a movie starring Itikawa Ebizou.  He has multiple ability, so he got a high evluation by reative person.

This drama is MUSASHI.  It is a drama sarring Itikawa Ebizou.  His performance is very strong, so he fit a role that Miyamoto Musashi.

He started theater, of couse he is starring.  Title is GOD FEARING DRACUL .  co-star is Rie Miyazawa.  Now, come up as relationship of association with Ichikawa Ebizou.

Lineage:

• Ichikawa Ebizo I(1673 - April 1675) - Took the name Danjūrō in 1693, becoming the first Ichikawa Danjūrō. Originated the aragoto form.
• Ichikawa Ebizo II(November 1735 - September 1758) - Eldest son of Ebizō I; previously known as Ichikawa Kuzō and later as Ichikawa Danjūrō II.
• Ichikawa Ebizo III(November 1772 - March 1778) - Adopted son of Ebizō II, possibly biological son. Previously known as Matsumoto Kōshirō II, and later as Ichikawa Danjūrō III.
• Ichikawa Ebizo IV(November 1782 - October 1791) - Son of Ichikawa Danjūrō V, grandson of Ebizō III; Later known as Ichikawa Danjūrō VI. Died young.
• Ichikawa Ebizo V(1797 - October 1800, March 1832 - March 1859) - Grandson of Danjūrō V, previously known as Ichikawa Shinnosuke I and Ichikawa Yebizō and Ichikawa Danjūrō VII. Established the Kabuki Juhachiban.
• Ichikawa Ebizo VI(March 1825 to February 1832) - Eldest son of Ebizō V. Previously known as Ichikawa Shinnosuke II, later known as Danjūrō VIII. Committed suicide in Osaka.
• Ichikawa Ebizo VII(1874) - Third son of Ebizō V. Previously known as Ichikawa Shinnosuke III.
• Ichikawa Ebizo VIII(1881 - November 1886) - Seventh son of Ebizō V, brother to Ichikawa Danjuro IX. Previously known as Ichikawa Akanbei, Ichikawa Juzō, Ichikawa Saruzō II, and Ichikawa Shinnosuke IV.
• Ichikawa Ebizo IX(May 1940 - March 1962) - Adopted son of Ichikawa Danjuro X, his biological father was Matsumoto Kashiro VII. Previously known as Ichikawa Komazō V and later as Ichikawa Danjūrō XI.
• Ichikawa Ebizo X(November 1969 to March 1985) - Eldest son of Ebizō IX. Previously known as Ichikawa Shinnosuke VI and later as Ichikawa Danjūrō XII. He is the current holder of the name Ichikawa Danjūrō.
• Ichikawa Ebizo XI(May 2004 - present) - Son of Ebizō X. Previously known as Ichikawa Shinnosuke VII. Ebizō XI is the current holder of the name Ichikawa Ebizō.

Posted by Yuji Hamano