originally on AISLE SAY Boston
Western theatre traditions extend back to the golden age of Greece over 2500 years ago, but there has been little continuity of style or practice. There has instead been the constant introduction of forms from various sources , leading to hybridization, plus a relentless search for novelty, not entirely for commercial purposes. For these reasons, it becomes important to seek out traditional performances whenever possible. Over the last 100 years or so, such contacts with the past have come primarily from the far east, usually as stylized forms, including puppetry.
The Awaji Ningyo Jururi, a Japanese National Treasure since 1976, trace their origin back at least 500 years, and perhaps further. Part of the current troupe recently concluded a ten day, five city tour in the States, starting in Houston and concluding here in Boston. This community-based puppet theatre originated in the fishing villages on Awaji Island in the Inland Sea near Osaka as a propitiatory ritual at Shinto shrines. As the form spread, it gave rise to the urban entertainment usually called bunraku Theatre, but on Awaji puppetry remained part of community worship. Families of puppeteers, usually before and after the main fishing season performed scenes from a wide repertory of tales and legends on occasions when Ebisu, the folk deity associated with protection from catastrophe at sea was to be invoked. In his infant form, as the deformed first-born of the First Couple known as the Leech Child, puppetry was created to calm his infantile rage. Over the centuries, Ebisukaki puppeteers literally carried the tradition about Japan, but like all folk traditions, it waned during the 20th century.
On Awaji Island, however, the local government took steps about 30 years ago to encourage the form, which is now part of the local school curriculum. Members of the troupe visiting on this trip are mostly "second-generation" performers from this revival. Since this group was here to present "educational" programs under current I.N.S. limitations, the afternoon included an informative lecture by a young American expert, Dr. Jane Marie Law, Director of the Religious Studies Program at Cornell and author of "Puppets of Nostalgia" (Princeton UP, 1997), the only western publication about this tradition. Her orientation was much preferable to extensive program notes. She also translated for a technical demonstration by master puppeteer Kotaro Yoshida, assisted by two of his brothers.
The theatrical program began with an almost operatic scene from the Keijo Awanaruto Pilgrimage, an 18th ballad concerning young Tsuru's search for her samurai parents who, on a secret mission for their clan, are currently disguised as bandits. While on a pilgrimage, she encounters her mother , who recognizes her, as she tells her story, but cannot reveal herself. After Tsuru's exit, the song concludes with the information that she was killed by her father in his disguise. This small tragedy, as the puppets mime the manners of the period to the accompaniment of a singer and a single shamisen, is every bit as effective as the much more histrionic efforts of the Bunraku or the Kabuki theatre.
The second act was more theatrical. Taken from a 1776 drama about the romantic tribulations of Princess Yaegaki, the scene features a large hand-puppet ghost fox who appears after she prays at her family's shrine, in order to assist her in crossing frozen Lake Nojiri to warn her lover about her father's plot to assassinate him. The action is quite balletic, and features a "magical" costume change from red to white when the heroine is under the influence of the Fox God. This is accompanied by a simultaneous change in the costume of the head puppeteer, who in this scene is not wearing the traditional black kuroko, but is robed, like the musicians, in the garb of a high-caste servant.
The final act, Ebisu Mai was the most traditional, as the god Ebisu, disguised as a courtier, but carrying his characteristic fishing pole, shows up at a village and is greeted with sake, which he consumes in quantity. At outdoor ceremonies in the past, the audience drank along with him, shouting out specific toasts as required. When the sake is gone, the god rises to dance, giving himself away, as he blesses the village. He then commandeers a boat to go fishing, knocks the boatman overboard, drags him back on board, and catches a fish of good fortune. In this scene, puppetry comes into its own, This is a theatre clearly in touch with its past, able to present classic forms while retaining its original characteristics. Even more than its better known cousin, Awaji Ningyo Jujuri is a living tradition with vital young performers. Most of the musicians and singers, all named Tsuruzawa, were young, as were most of the puppeteers. Apparently, most senior members of the troupe had too many engagements in Japan to make this trip. Yet the skill level was high and the energy exhilarating. These puppeteers will keep Ebisu dancing for years to come. Watch for them on their next trip.