Bunraku Story (Part A)

New York, N.Y. 

The story when I first introduced Japanese Bunraku to foreign countries

When I was working as an international business operator, I often introduced Japanese traditional culture to the U.S. for the first time. The performance was a huge success when I first brought Kabuki to the US, but it was so difficult and there were lots of interesting inside stories, so I talked about it in the second part of this column. After that, I introduced various Japanese culture such as Kyogen and Noh, but when I brought “Bunraku” it was so difficult that I couldn’t lose even in Kabuki.

Bunraku is an abbreviation for the Japanese traditional performing art “Ningyo Joruri Bunraku”. The size of the doll is quite large, about the size of our upper body. The doll’s costumes and head decorations are very delicate and beautiful, and even by themselves, there is a beauty that you want to appreciate as a work of art.Nobody knew about NY at the time

At this time, there was a person named Imai in the Bunrakuza, and my grandfather Heizo Tatsumura and Imai, who were textile lords and national treasures, were friends, so Imai repeatedly said, “ HOW IMPOTTANT IT WAS TO BRING THHE BA=UNRAKU

Bunraku to America I was dreaming of “I want to bring it.” However, in the United States, I used to think that it would be impossible to use dolls, so I thought it was a puppet show, ONLY PUPET THEATER and I refused. But one day, this culture is still a wonderful Japanese traditional culture, so why don’t we try and bring it with us! I decided to implement it.

Until the first time I brought Bunraku to the United States in April 1973, the wonderfulness of Bunraku was gradually accepted in Western culture, and then I went to many performances in Europe. Apparently, no one knew about Bunraku when I produced it in New York.

At this time, there was a person named Imai in the Bunrakuza, and my grandfather Heizo Tatsumura and Imai, who were textile lords and national treasures, were friends, so Imai repeatedly said, “ Bunraku to America I was dreaming of “I want to bring it.”

However, in the United States, I used to think that it would be impossible to use dolls, so I thought it was a puppet show, and I refused. But one day, this culture is still a wonderful Japanese traditional culture, so why don’t we try and bring it with us! I decided to implement it.

Create a stage for bunraku on a large stage

However, mysteriously now, I had never received any financial assistance at this time. Bunraku says that they can’t afford it, and they also want to bring in three human national treasures of Bunraku, so it costs money. If you calculate such money, it will not be profitable if it is a performance in a small venue, so I will rent a place called the city center of Midtown and make a small stage for Bunraku on the big stage there and perform it. did.

NY Times not mentioned in the article\Now that the performance is ready and it’s time to advertise, I’m in trouble. The New York Times and other media, who usually write a lot for my performances, don’t write ONE WORD about this Bunraku performance at all. I callED the New York Times and ask for me, but they don’t take me seriously. “Isn’t it human? Isn’t it a doll?”

WHEN YOU THINK IF IT, SUCH HIGH LEVEL ART NOT IN US – DOLL PLAY IS FOR CHLDREN.

There is no culture of high-performance drama using dolls like works of art in the West. When I heard about using dolls, I was reminded of a puppet play with children’s stuffed animals, and I thought of it as entertainment for children rather than art.

Even though I called many times and explained that this GREATEST traditional Japanese art, a large doll with beautiful costumes, WITH three adult adults moving one doll for hundreds of years of advanced Japanese art. ,

I didn’t write an article saying “Because it’s a doll”, NOT acted by human beings

and it was put in the “Others” column instead of the drama in the calendar column.

only put in childern’s column

The splendor that you cannot understandIt seems that you can understand that Joruri is wonderful as a music, so I thought about various things, such as “ Is it a setting for a music concert? ” became. BUT IT WAS IMPOSSIBLE. IT WAS VERY LITTLE SOLD AND THEN OPENING DAY ARRIVED.

(Following next issue on September 28th)

The Editors
The Stewardship Report on Connecting Goodness is the communications platform of The James Jay Dudley Luce Foundation (www.lucefoundation.org). There are now more than 100 contributors around the world to this publication.

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