Relevant bibliographies by topics / Bunraku puppets

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Bunraku puppets'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2024

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Journal articles on the topic "Bunraku puppets"

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Hattori, M., S. Nishizawa, S. Tadokoro, T. Takamori, and K. Yamada. "1P1-D9 Motion description of Bunraku puppets by the continuous Labanotation." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2001 (2001): 23. http://dx.doi.org/10.1299/jsmermd.2001.23_7.

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Orenstein, Claudia. "Japanese Epic Puppet Tales at New Year: The Fukaze Dekumawashi and Higashi Futakuchi Performance Traditions." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, no. 2 (December 30, 2023): 173–203. http://dx.doi.org/10.54103/2724-3346/22206.

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In the Hakusan area of Japan’s Ishikawa Prefecture, two villages, Fukaze and Higashi Futakuchi, roughly 350 years ago, developed and have continued to preserve bun’ya ningyō, puppetry combined with the bun’ya style of chanting, a precursor of bunraku. These traditions draw their tales from folk stories and the epic Heike Monogatari or Tale of the Heike. Although their puppets are basic in construction and use a simple form of manipulation, each of these related but distinct traditions captivates with its own unique figures, particular chanting style, and ingenious manipulation techniques. Equally worthy of attention are the roles these non-commercial traditions have played in uniting their rural communities and the deep attachment locals still have to their artform. With the erosion of rural lifestyles throughout Japan and the aging of the forms’ most engaged practitioners, it is difficult to anticipate the future of these arts. Along with Hakusan City Hall, the forms’ preservation associations have experimented with ways of documenting the traditions, finding new performance opportunities, and promoting their arts to a broader public.
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Rosner, Krisztina. "Layers of the Traditional in Popular Performing Arts: Object and Voice as Character: Vocaloid Opera AOI." Mutual Images Journal, no. 6 (June 20, 2019): 7–20. http://dx.doi.org/10.32926/2018.6.ros.layer.

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The paper analyzes how the concept of presence is put into play in connection to disappearance, contemporary popular media technology and objects in the 2014 production of Vocaloid Opera Aoi, composed by Hiroshi Tamawari. In the traditional noh theatre version of the famous story, the character Aoi does not appear “in person,” she is represented by a kimono. In the 2014 production the modified story is performed with bunraku puppets and sung by a Vocaloid singer, a software. By analyzing this, I elaborate on the connection between the recent studies on object dramaturgy and the questions of nonhuman (Bennett, Eckersall), and the nonreflective position rooted in animism from the fan base of pop culture that attributes personality and emotions to their respective robot/android/software idol. I examine the latest performative events in contemporary Japanese theatre that involve both human and non-human actors/agents (animals, objects, androids, vocaloids): the corporeality of the organic and inorganic Other, focusing on how the presence of the organic and non-organic nonhuman appears within the interplays of representation, how it relates to the layers of empathy, responsibility and consent, in the frame of contemporary Japanese popular culture.
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Okui, Haruka. "Deformation of the Human Body." Chiasmi International 22 (2020): 351–66. http://dx.doi.org/10.5840/chiasmi20202232.

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In the Sorbonne lectures on the philosophical and psychological inquiry of child development, Merleau-Ponty offers a fundamental insight about imitation. Denying the representation-based explanation of imitation, he proposes that gestures occur without representation through the body-object relation, such as “precommunication” based on the works of body schema. Merleau-Ponty’s thought could be examined by way of more practical examples of body techniques. This paper describes the experience of object manipulation, in particular, Bunraku puppetry. Because three puppeteers manipulate a single puppet together in Bunraku, this example might be a challenge to an ordinary assumption that a body is owned by an individual and that inner thoughts control the body. Merleau-Ponty’s insight suggests that the puppeteers share another type of body schema that is not internalized to their individual bodies but emerges afresh in each performance through collaborative movement.
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Pinnington, Noel J. "Invented origins: Muromachi interpretations of okina sarugaku." Bulletin of the School of Oriental and African Studies 61, no. 3 (October 1998): 492–518. http://dx.doi.org/10.1017/s0041977x00019315.

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Okina , a ritual play without plot, a collection of old songs and dialogues interspersed with dances, can be seen in many parts of Japan, performed in various versions. In village festivals, it may be put on by local people using libretti derived from oral traditions, and in larger shrines professional players might be employed to perform it at the New Year. Puppets enact Okina dances at the start of Bunraku performances and Kabuki actors use them to open their season. Such Okina performances derive from Nō traditions, and as might be expected, the Nō schools have their own Okina, based on texts deriving from the Edo period, which they perform at the start of celebratory programmes. These ‘official’ versions feature, among other roles, two old men: Okina and Sanbasō (). Before the fifteenth century, when Nō traditions were being established, it was common for a third old man known as Chichi no jō () to appear as well (I shall refer to this ‘complete’ form as Shikisanban, three ritual pieces, a term used by Muromachi performers). These old men are marked out from all other Nō roles by their use of a unique type of mask, having a separated lower jaw connected by a cord (the so-called kiriago).Erika de Poorter, in her introduction to Okina, suggests that actors dropped the third section because its Buddhist content conflicted with a trend away from Buddhism towards Shinto (a trend she refers to as ‘the spirit of the times’). She supports her theory by adducing a similar ideological shift in contemporaneous interpretations of Okina and legends about the origins of Nō. De Poorter tells us little about these interpretations, as is perhaps appropriate for an introductory essay. This study, however, aims to give a full account of them, starting with a Buddhist reading, recorded near the beginning of the Muromachi period, proceeding to interpretations current among performers in the fifteenth century, and concluding with the purely Shinto explanation taught by the Yoshida lineage in the mid-sixteenth century.
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Rocks, Claire, Sarah Jenkins, Matthew Studley, and David McGoran. "‘Heart Robot’, a public engagement project." Interaction Studies 10, no. 3 (December 10, 2009): 427–52. http://dx.doi.org/10.1075/is.10.3.07roc.

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Heart Robot was a public engagement project funded by the Engineering and Physical Sciences Research Council (EPSRC). The aim of the project was to challenge cultural perceptions of robots, and to stimulate thought and debate in members of the general public around research in the field of social and emotional robotics. Fusing the traditions of Bunraku puppetry, the technology of animatronics and the field of artificial emotion and social intelligence, Heart Robot presented a series of entertaining, thought-provoking, and moving performances at fourteen events in the south-west region of the UK between May and December 2008. This paper presents a summary of the independent evaluation of the project. Keywords: Robot, Puppet, Public Engagement, Social Robots, Science-art collaboration
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Trefalt, Uroš. "Other "Hamlet" in Puppet Theatre: A Contribution to Central European Theatre Diversity of the 1980s-1990s." Multicultural Shakespeare: Translation, Appropriation and Performance 28, no. 43 (December 30, 2023): 265–75. http://dx.doi.org/10.18778/2083-8530.28.14.

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This study aims to address the stigmatization and reductionism of Central European culture by many scholars and to decentralize it. At the Crossing Borders with Shakespeare Since 1945 conference, the roundtable discussion raised questions about naming and defining “Central Europe” and revealed several discrepancies. However, the discussion lacked cultural, political, and historical context. To address this, the author examines a lesser-known artistic genre, puppet theatre, for answers and comparisons. Zlatko Bourek, a Croatian artist and director, offers a unique perspective on the theatre of the 1980s and serves as an example of the diversity and heterogeneity of Central European cultural expression. Bourek’s work draws from the tradition of Central European puppetry and explores connections between the Iron Curtain and Yugoslavia. His artistic style is exemplified in his adaptation of Tom Stoppard’s play Fifteen-Minute Hamlet, which masterfully condenses the entire plot of William Shakespeare’s Hamlet into a fifteen-minute performance. Bourek’s concept of combining Shakespearean tragedy with farce, presented through Japanese traditional Bunraku theatre, represents an important experiment of the 1980s. The use of syncretism and the aesthetics of ugliness are notable features of this experiment. It is a breakthrough in the perceived history of puppet theatre for adults and an aesthetic experiment in the era of Central European totalitarianism.
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Hattori, Motofumi, Masahiko Tsuji, Yasunori Nakabo, Satoshi Tadokoro, Toshi Takamori, and Kazuhito Yamada. "An Analysis of Stochastic Factors of Bunraku Puppet Actions." IEEJ Transactions on Electronics, Information and Systems 117, no. 5 (1997): 540–47. http://dx.doi.org/10.1541/ieejeiss1987.117.5_540.

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Hattori, Motofumi, Masahiko Tsuji, Satoshi Tadokoro, Toshi Takamori, and Kazuhito Yamada. "An Analysis and Generation of Bunraku Puppet's Motions Based on Linear Structure of Functional Factors, Emotional Factors and Stochastic Fluctuations for Generation of Humanoid Robots' Actions with Fertile Emotions." Journal of Robotics and Mechatronics 11, no. 5 (October 20, 1999): 393–98. http://dx.doi.org/10.20965/jrm.1999.p0393.

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Human robots must have actions with fertile emotions, in order to cooperate with human being. To clarify ""what is the emotional factor of actions"", the authors analyze the actions of a Bunraku puppet. The observed action time series are modeled by a stochastic time evolutionequations (KM2O-Langevin equations) with exogenoussources which represent the sources of functional factors, emotional factors and stochastic fluctuation factors. The estimation method for KM2O-Langevin equations with exogenous sources is established. This method is verified by a numerical simulation.
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Sumi, Shigemasa. "Identification of Human Gait from Point-Lights Display of Bunraku-Puppet." Proceedings of the Annual Convention of the Japanese Psychological Association 79 (September 22, 2015): 1PM—069–1PM—069. http://dx.doi.org/10.4992/pacjpa.79.0_1pm-069.

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Dissertations / Theses on the topic "Bunraku puppets"

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Mori, Martina <1993&gt. "Burattini e raffigurazioni dell'essere umano in Giappone: dal bunraku alla puppet animation." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12607.

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Abstract Tema: L’argomento che vorrei affrontare nella mia tesi è quello della raffigurazione della figura umana in Giappone dal periodo Nara al periodo Heisei. Vorrei parlare di come le bambole siano state usate fin da epoche antiche per raccontare delle storie, arricchendo così il panorama delle arti visive giapponesi, grazie anche ai viandanti che viaggiando per tutto il paese diffusero quest’arte. In particolare dal periodo Edo in poi si svilupperà il bunraku, teatro dei burattini, tipologia di teatro che unisce tre pratiche, l’uso dei burattini, lo shamisen e la narrazione. Col passare del tempo il bunraku si raffina sempre di più, modellando i suoi burattini nella forma, nel carattere e nell’espressione, creando così vari tipologie fisse e, poiché ogni personaggio ha le sue personali caratteristiche, non ci sono altri burattini che gli somiglino. Dal periodo Edo fino al giorno d’oggi per coloro che manovrano i burattini la difficoltà maggiore sta non tanto nel muoverli, quanto piuttosto nel trasmettere le emozioni dei personaggi che interpretano. Inoltre nel periodo Showa, è nata la puppet animation, grazie a Mochinaga Tadahito, regista e padre di questo nuovo tipo di animazione. Egli inizia a sperimentare questo nuovo stile e tra i suoi assistenti ci saranno anche Kawamoto Kihachiro e Okamoto Tadanari, che lavoreranno attivamente a questo nuovo progetto, assorbendo conoscenze che metteranno poi in pratica nei loro film. Da questo momento la puppet animation verrà usata anche nei programmi televisivi, in particolare in Giappone divenne un genere molto famoso e apprezzato. Il pubblico non è solo infantile, anzi, questi film o serie tv sono state fatte appositamente per gli adulti, per esempio nel 2016 è stato lanciato sul mercato un puppet show intitolato Thunderbolt Fantasy, nato da una collaborazione tra registi giapponesi e taiwanesi e, siccome ottenne subito un gran successo, nel 2018 è stata programmata l’uscita della seconda serie. Oltre a questo, anche il svariati ambiti, vedremo come al posto di esseri umani si privilegerà la figura di bambole o burattini, realizzando nuove prospettive per il futuro e nuove forme d’arte. Quesito di ricerca: I burattini sono sempre stati usati in tutto il mondo, ma a seconda delle circostanze o dello scopo con cui venivano usate, la loro funzione cambiava. È diverso il modo in cui vengono costruite, il modo in cui comunicano con noi uomini ed è interessante vedere come, ad esempio nel caso del teatro, vengano addirittura usate in sostituzione dell’uomo stesso. Nel caso del Giappone i burattini sono stati usati fin dai tempi antichi come simulacri in grado di attirare su di sé gli spiriti malvagi, in modo da proteggere le persone come una sorta di amuleto. Ma oltre al suo ruolo magico-religioso, le bambole avevano anche un ruolo giocoso, ludico e di puro intrattenimento. In seguito i burattini vennero usati per raccontare storie e grazie al bunraku, che usa burattini di una sublime bellezza, il ruolo del burattino cambia ancora una volta. Il panorama si arricchisce anche con l’avvento della puppet animation e con il commercio delle BJD. Penso che sia importante parlare di questo argomento, poiché vivendo in una società sempre più tecnologica, meccanizzata e aggiungerei a volte incapace di stupirsi, confrontarsi con un burattino, figura inanimata, ma pur sempre creata da noi, potrebbe mettere in evidenza qualcosa che tendiamo a nascondere o che non vogliamo vedere. Tuttavia la funzione dei burattini non si limita solo a questo, ma riescono a portarci in un mondo fantastico, facendoci sognare ad occhi aperti, come se loro fossero davvero umani. Quindi sebbene il burattino sia un oggetto inanimato, può risvegliare in noi l’umanità che stiamo via via perdendo.
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Guiot, Lise. "Le bunraku et ses nouveaux visages sur la scène française contemporaine." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30001.

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Cette thèse a pour but d'envisager en miroir le ningyô-jôruri, dit bunraku, et ses réceptions sur les scènes françaises contemporaines, ainsi d'identifier les raisons de la fascination et les influences sur les créations théâtrales.Une première partie se concentre sur l'art tricentenaire japonais et plus spécifiquement sur le collectif d'artistes, le Bunraku Kyôkai du Théâtre du Bunraku à Ôsaka. Trois arts, en étroite collaboration, le composent : le gidayû-bushi (qui associe voix et instrument) et les marionnettes manipulées à trois manipulateurs (technique dite sanninzukai).Le deuxième mouvement retrace le voyage de cet art dans l'imaginaire de lettrés et hommes de théâtre français, Paul Claudel, Jean-Louis Barrault, Roland Barthes, Georges Banu ; dans les travaux d'universitaires, Jacques Pimpaneau, Jean-Jacques Tschudin ; de traducteurs, René Sieffert et Jeanne Sigée. Figures de passeurs, ils rencontrent cet art, l'érigeant parfois en contre-modèle du théâtre français,dont la figure centrale est l'acteur, parfois en utopie théâtrale.Enfin, sans se risquer à une véritable adaptation, les metteurs en scène du monde de la marionnette (Philippe Genty, Dominique Houdart, Michael Meschke) puis plus largement des univers du théâtre et de la danse transposent, empruntent, citent dans un jeu subtil d'éloignement et d'intimité avec l'art originel. Les nouveaux visages du bunraku sur les plateaux français portent les interrogations de la scène contemporaine : quête idéale de théâtralité (Ariane Mnouchkine), perspective de l'hyperréalisme (Bérangère Vantusso), tentation d'accès à l'invisible (Claude Régy)
This work aims at considering ninjyô-jôruri -or bunraku- on the one hand and how French stages integrated it on the other hand. By doing so, we will understand better the fascination for it and explain how it influenced theatrical creations.The first part focuses on this three-century-old art and more precisely on a group of artists, the Bunraku Kyôkai from the Bunraku Theatre in Ôsaka. Bunraku is composed of three closely linked arts: gidayû-bushi (which couples voices and instruments) and puppets manipulated by three artists (sanninzukai technique).The second part tells how French intellectuals like Paul Claudel, Jean-Louis Barrault, Roland Barthes and Georges Banu made bunraku their own. Jacques Pimpaneau and Jean-Jacques Tschudin also brought a new light through their academic works, as well as translators such as René Sieffert and Jeanne Sigée. They all acted as go-betweens. They sometimes presented Bunraku as a counter-model for French theatre -in which actors are a central figure- and sometimes as a theatrical utopia.To finish, puppet stage directors (Philippe Genty, Dominique Houdart, Michael Meschke) although they didn't venture into a real adaptation, started a dialogue with bunraku by transposing, borrowing from or quoting some aspects of it. The world of theatre and dance followed a similar suit. The new faces of bunraku in France are interrogating the contemporary stage: it's an ideal quest for theatricality (with Ariane Mnouchkine), a perspective for hyperrealism (with Bérangère Vantusso) and an attempt to reach the invisible (with Claude Régy)
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Martins, Raquel Maria Gonçalves. "Um olhar sobre o Espólio Ningyö Jöruri do Museu do Oriente : marionetas japonesas contadoras de histórias na Coleção Knomk On." Master's thesis, 2016. http://hdl.handle.net/10400.14/22051.

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O presente trabalho pretende contribuir para o conhecimento e divulgação do teatro de marionetas japonês e da cultura japonesa, através do estudo do conjunto de marionetas de vara oriundas do Japão do Museu do Oriente em Lisboa. Até à data estes objectos nunca foram estudados, existindo poucas fontes sobre os mesmos, o que justifica a sua análise. Com esta dissertação, temos como objectivo dar um contributo para o conhecimento e entendimento das peças estudadas, delineando o caminho para uma futura exposição das mesmos ao público. Para tal, procedemos a uma contextualização do surgimento e evolução do teatro de marionetas do ponto de vista histórico, analisámos as características gerais das marionetas e da performance, aprofundámos o papel dos diferentes intervenientes, reflectimos sobre as temáticas abordadas nas peças e comparámos a colecção com outras a nível internacional. Procurámos também aprofundar o conhecimento sobre a colecção Kwok On e sobre a aquisição dos objectos estudados. O teatro é uma arte universal e transversal a várias culturas, que permite expressar sentimentos e contar histórias, ajudando a compreender o outro e a entender os desígnios do universo. O Ningyō Jōruri reflecte vários aspectos culturais, merecendo por isso uma apreciação cuidada e detalhada, para um melhor entendimento e conhecimento da cultura japonesa. Para a realização desta investigação, procedemos para além da análise dos objectos nas reservas a trabalho de campo no Japão, bem como a extensa consulta bibliográfica sobre a matéria e a vários contactos internacionais.
The present work aims to contribute to the knowledge and spread of the japanese puppet theatre and the japanese culture, through the study of the collection of japanese rod puppets, from the Orient Museum in Lisbon. Until the present these objects were never studied and there are very few sources about them, which justifies their analysis. With this dissertation, we purpose to contribute to the knowledge and understanding about the studied items, preparing the way to a future exhibition to the public. To accomplish this, we’ve proceeded to a contextualization of the appearance and evolution of the puppet theatre in Japan, from an historical point of view, we’ve also analysed the general characteristics of the puppets and the performance, investigated the role of the different participants, reflected about the thematic of the plays and we’ve also compared the collection with others worldwide. Our aim is also to improve the knowledge about the Kwok On collection and the acquisition of the objects. Theatre is a universal art, transversal to different cultures, that allows to express feelings and to tell stories, helping to understand the other and the plans of the universe. Ningyō Jōruri represents several cultural issues, deserving consequently a proper and extensive examination. To accomplish this investigation, behind the analysis of the objects we carried out field work in Japan, as well as extensive bibliographic consultation and several international contacts.
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Books on the topic "Bunraku puppets"

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1927-, Tayuinoshō Tetsuji, ed. Bunraku ningyō no miryoku. Tōkyō: Ōsaka Shoseki, 1986.

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Kokuritsu, Bunraku Gekijō (Osaka Japan). Kokuritsu Bunraku Gekijō shozō bunraku no kashira. Ōsaka-shi: Kokuritau Bunraku Gekijō, 2006.

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Kokuritsu Bunraku Gekijō (Japan). Jigyōka, ed. Bunraku ningyōshi Ōe Minosuke sakuhinshū. [Tokyo]: Nihon Geijutsu Bunka Shinkōkai, 1991.

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Ōe, Minosuke. Bunraku ningyōshi Ōe Minosuke sakuhinshū. Tokushima-shi: Ōe Minosuke Kenshōkai, 1991.

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Kawahara, Hisao. Bunraku shashinshū. Tōkyō: Nihon Keizai Shinbun Shuppansha, 2009.

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1960-, Tada Hironobu, ed. Jōruri ningyō no horikata. Tōkyō: Nichibō Shuppansha, 1985.

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Uno, Koshirō. Nihon no karakuri ningyō. Kawasaki-shi: Gendai Ningyōgeki Sentā, 1986.

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Hasegawa, Noboru. Kabukie bunraku ningyōe. [Tokyo]: Nihon Geijutsu Bunka Shinkōkai, 2009.

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Takemoto, Wakaha Dayū. Kinsei sangi meikan: Nihon kaisan kan shogei shonō : Awaji ningyō jōruri shibai. Sumoto-shi: Kida Toshio, 1986.

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Nagoshi, Shōji. Bunraku ningyō katsurashi tokoyama Nagoshi Shōji. [Osaka]: Ōsaka-fu Kyōiku Iinkai Bunkazai Hogoka, 2012.

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Book chapters on the topic "Bunraku puppets"

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"Styles, Techniques and Interpretations in the Creation of Bunraku Puppets." In 1918-2018: 100 Years of Theater Research in Iași, 78–88. Sciendo, 2018. http://dx.doi.org/10.2478/9783110653823-010.

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"Acknowledgments." In The Bunraku Puppet Theatre of Japan, ix—x. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-001.

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"Introduction." In The Bunraku Puppet Theatre of Japan, 1–9. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-002.

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"1. The Genji Vanguard In Ōmi Province." In The Bunraku Puppet Theatre of Japan, 10–46. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-003.

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"Mount Imo and Mount Se: Precepts For Women." In The Bunraku Puppet Theatre of Japan, 47–75. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-004.

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"3. Vengeance at Iga Pass." In The Bunraku Puppet Theatre of Japan, 76–235. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-005.

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"4. The True Tale of Asagao." In The Bunraku Puppet Theatre of Japan, 236–80. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-006.

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"Notes." In The Bunraku Puppet Theatre of Japan, 281–300. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-007.

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"Bibliography." In The Bunraku Puppet Theatre of Japan, 301–4. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-008.

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"About the Translator." In The Bunraku Puppet Theatre of Japan, 305–10. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824837259-009.

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