Bunraku Theater and Kathakali Dance Drama

Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. . Bunraku Theater and Kathakali Dance Drama Bunraku Theater and Kathakali Dance Drama Introduction: Many explorations into the realm of theater arts have produced various discoveries, which have helped theater devotees make connections never seen before between theater traditions not only from different parts of the world, but with different means of origin. Any such exploration is vital to theatrical research and practice as it not only adds value to theatrical study, but it also may provide an opportunity for two or more theatrical traditions to blend into one exhibition of carefully investigated research. The following research presentation examines two very different and diverse theatrical practices: Bunraku Theater, from seventeenth century Japan, and Kathakali Dance-Drama, from seventeenth century southern India. In this examination of Bunraku and Kathakali theatrical traditions, this research paper is an exploration of the cultural evolution of each tradition and a reflection on the development of additional performer roles and the element of movement in both of these practices. Bunraku Theater is a traditional form of Puppet Theater that originated in Japan. Initially, Bunraku was the name of the theater where ningyo-joruri (puppets and storytelling) was performed in. Gradually, this name evolved and became to be the name associated with the art of ningyo-joruri itself. (What is Bunraku?) Today, Bunraku is the official name of Puppet Theater in Japan. Textual styles in Bunraku involve a high degree of drama, whereas most puppet-oriented theatrical traditions simply rely on simple myths and legends as a foundation for their texts. Most puppet-based theater practices around the world also usually hide the puppeteers involved in the drama. In Bunraku, however, the puppeteers are shown to the audience along with the puppets. (What is Bunraku?) Kathakali is one of the oldest theatrical traditions India, originating in the southern state of Kerela. In Malayalam, the name Kathakali directly translates into story-play. This tradition is primarily a dance-oriented tradition with textual styles involving themes based on mythological texts from Hinduism such as the Ramayana and Mahabharata. (Rajan) Most dance-based theater practices rely only on the dance movements to convey various messages. Kathakali, however, heavily relies on a highly detailed make-up and costume classification, which portrays the characteristics of the characters. (Rajan) The astonishing circumstance is that both of these traditions have no evidence of contact amongst themselves. However, as absurd as the relationship may be, a sense of the practices of naturalist Charles Darwin echo when discussing this situation. One might argue that at some point, both these traditions might have a common root that dates back thousands of years. Maybe, in the process of developing these traditions, there was a connection somewhere that inspired both these traditions. Then again, while searching for a historical link, the true essence of the links between Bunraku and Kathakali must not be lost. An examination, nevertheless, of their respective cultural evolution, seems necessary. Cultural Evolution: Bunraku Theater evolved from two different groups. There was a tradition of travelling storytellers and a tradition of travelling puppeteers in seventeenth century Japan. These two groups came into contact with each other and decided to combine the arts of puppetry and storytelling. This tradition was brought into professional performance when Takemoto Gidayu, considered as the father of Bunraku, established a theater in Osaka. Gidayu began his career in Kyoto as a narrator. He was known for his storytelling abilities. In 1684, he decided to form his own variation of theater with the combination of puppetry and storytelling. With the help of Chikamatsu Monzaemon, regarded as one of the greatest playwrights in Japanese history, and Takeda Izumo, a theater owner and manager, Gidayu was able to establish his theater in Osaka. The plays of this revolutionary style of theater known as joruri were categorized into two divisions: jidai-mono (historical) and sewa-mono (domestic) plays. Histo rical plays were focused on the lifestyle and stories involving the noble and military social classes, while domestic plays were concerned with the lives of the common town residents. Upon the division of joruri around 1703 into Takemoto-za, led by Gidayu, and Toyotake-za, led by an apprentice of Gidayu who left the Osaka Theater, the fight for the best theater of joruri produced some quality work. This period of Bunraku history was later referred to as the Golden Age. Plays from this time period are still the most often performed plays today. However, after a prosporous early eighteenth century, the late eighteenth century brought a period of literary drought as joruri declined in popularity. The only existence of Puppet Theater after that was that in shrines and temples. Amidst this phase, a small theater was opened in Osaka near the Inari Shrine in 1811 by Uemura Bunrakuken. In 1872, it was relocated to Matsushima and officially titled Bunraku-za. Soon after in 1884, a new rival to Bunraku-za arose by the name of Hikiroku-za. Similar to the previous golden age, this rivalry produced some fine work and Bunraku was at a point of revival. The rivalry lasted six years as Hikoroku-za closed down in 1893. Bunraku-za was the only remaining representative of Puppet Theater. Soon, the art of Puppet Theater became known as Bunraku instead of just the theater. After World War II, one of the first rebuilt theaters was the Yotsubashi Bunraku-za because the government wished to preserve this famous art form out of Osaka. In 1966, in Tokyo, the first National Theater was built. This theater targeted a younger audience to keep the tradition alive. Today, as a result of the investment, the theater is part of UNESCOs Intangible Cultural Heritage list. (paragraph of references) Meanwhile, in southern India, Kathalkali had a different direction from which it evolved. The art of Kathakali originated from a political rivalry between two chieftains: the Raja (King) of Kottarakkara and the Zamorin of Calicut. The Raja of Kottarakkara requested the presence of a dance-drama troupe known as Krishnanaattam from the Zamorin of Calicut to perform at a social gathering. Krishnanaattam was a dance-drama based on the life of Lord Krishna, a Hindu mythological god. The Zamorin considered this proposition and due to political tension between the two, he refused to send the troupe blaming it on the fact that the Raja of Kottarakkara would not appreciate the art form. In rebellion, the Raja of Kottarakkara created an equivalent form of dance-drama called Raamanaattam, based on the life of Lord Rama, another Hindu mythological god. Raamanaattam was created in Malayalam, the traditional language of the state of Kerela. By the end of the seventeenth century, the polished versi on of Raamanaattam was known as Kathakali. Kathakali was performed in Hindu temples as its stories had much to do with religious texts. The art of Kathakali was a mixture of several art forms of Kerela: Nritta, Nrittya, Natya, Kalaripayattu, Theyyam, and Koodiyattam. Nritta, Nrittya, and Natya are names for various dance types directly translating into pure dance, suggestive dance with the aid of postures and gestures, and drama. Kalaripayattu is the martial art of Kerela. This art is evident in the movement of Kathakali through the way performers are trained until absolute endurance is achieved. Theyyam is a ritualistic dance form. The heavy use of make-up and headdresses in Kathakali is derived from Theyyam. Lastly, Koodiyattam is a Sanskrit-based theater performed in the temples of Kerela. This theater, dating back to 200 BC, contains the stage action that has been inherited by Kathakali. Along with the make-up from Theyyam, stiff and powerful movements from Kaliripayattu, this s tage action completes the art of Kathakali today. (paragraph of references) Noticing the many differences in the way that these traditions came about, they have plenty of similarities that could be used as critical researched connections. Both theatrical practices have different roots of evolution. Bunraku Theater evolved as a result of the desire to capitalize on a newly discovered means of theater involving puppets and storytelling. Kathakali dance-drama evolved as a result of political feuds between rival kingdoms, and how one dominant form of dance-drama evolved through the centuries to represent its modern representation. The fact that both practices come from different narratives in their backgrounds challenges the implausible theory that any contact was possible between the two cultures. Regardless of historical contact, Bunraku and Kathakali seem to display great similarities in three areas: additional performer roles, make-up, and movement. Additional Performer Roles: Instantly, one notices that there are some introductory connections linking Bunraku and Kathakali evolution. Both traditions evolved in the 17th century. Both traditions are different from conventional traditions in their respected forms. However, lack of communication in the seventeenth century limited ways in which one practice could become aware of the other. There are also other detailed aspects that link the fundamentals of each theatrical practice. The first connection between Bunraku and Kathakali is the development of additional performer roles. There are two additional roles apart from the puppeteers in Bunraku. One of them is the role of the chanter and the other is that of the shamisen player. The chanter is known as the tayu. His role is described as bringing wooden dolls to life. Through the expressions made by the chanter, the dolls are able to communicate with each other filled with the same expression as any western theatrical actor. Apart from reciting the dialogue, the chanter also informs the audience on the background involved with the scene being presented. Only one chanter is needed to perform all the roles. Thus, the chanter needs to have a versatile voice. Over-exaggeration is essential to portray a characters personality and their emotions. The crowd is able to distinguish between characters through the exaggerated voices made by the chanter. The chanter is accompanied by the shamisen player, who plays the mu sical supplement to. Out of the three types of shamisens, the one played in Bunraku is the type with the longest neck to emit the deepest and most low-pitched sound. This also requires the chanter to sing from the lower abdomen. Similar to the role of the chanter, the shamisen player must also attempt to add his full heart into the music to make the musical addition as real and cultural as possible. (paragraph of references) Kathakali performances contain more additional performers than Bunraku. However, their roles are similar to those of Bunraku. There is a music accompaniment to the performance. The musicians are referred to as the orchestra. The orchestra composes of three drums and a set of cymbals. Usually, one performer plays each instrument, but there are performances where more than one are seen playing the same instrument. The three drums are the chenda, maddalam, and edakka.   The chenda is loud and powerful and is used for scenes with building suspense. The maddalam is used for softer sounds pertaining to female characters. The edakka is also used for its soft, musical addition to the overall spirit. Along with the drums, the cymbals aid the drums to help the dancer keep in beat with the music. The orchestra is used throughout the performance because without the beats of the drums, the performers are clueless as to their movements. The dance dances according to the rhythm of the drums. Ther e is a vocal aspect to Kathakali as well. This aspect is used to narrate the story because the performers do not speak in the performance. The dialogue is spoken in either Malayalam or Sanskrit and is said whenever narration is required. In parts where dance builds the suspense, the drums take control and the chanter(s) does(do) not speak. (paragraph of references) In Bunraku and Kathakali, the roles of additional performers are similar. The chanters are responsible for reciting the story and speaking any dialogue needed to be spoken. The instrument players are required to maintain the tone of the performance. The institutional soul of the performance in both cases is created by the music, which has to be followed by other elements. The remarkable similarities presented by this straightforward addition of music is one of many upon which basic structure of performance are developed. Make-Up: The second correlation between Bunraku and Kathakali is the heavy use of make-up to describe the characteristics of the various characters. In Bunraku, various puppet heads indicate various personalities of the characters.Different types of heads with fixed make-up are used. Each puppet head is meant for a different role. There are twelve types of male puppet heads, six types of female puppet heads, and there are also specially made heads used for special roles. The male heads are Bunshichi, Kenbishi, Komei, Odanshichi, Genda, Waka otoko, Oniwaka, Matahei, Darasuke, Yokanbei, Oshuto, and Kiichi. Bunshichi is a head used for tragic heroes. The heroism can be seen through the masculine face with thick eyebrows. However, the facial expression shows concealed worry or sorrow, which leads to the conclusion that this hero is tragic and has suffered for a long time. Kenbishi is a head used for characters playing supporting roles in a performance. This heads facial expression indicates stron g willpower, which is indicated by the single-lined painting of the mouth. Komei is a head used for middle-aged characters. This head is intended to be thoughtful, portrayed by its polished facade. Odanshichi is a head used for warriors. These warriors are brave and courageous, which can be seen through the bold facial expression and the heavy lines with which the head is painted. Genda and Waka otoko are heads used for teens and men in their twenties. Their elegance is shown through their handsome faces. Oniwaka is a head used for teen males as well. However, the red color of the face portrays that these characters are wild and stubborn as opposed to handsome and elegant. Matahei is a head used to portray honest men living simple lives, which is seen through the simplicity of their face. Darasuke is a head that represents the enemy. The facial expression of this character displays opposing views and a sense of unease. These characters are supposed to be disliked by the audience. Yo kanbei is a head used for enemies as well. However, the pink face and the long moustache are traits of humor. Therefore, these characters are humorous villains, who arent supposed to be completely disliked by the audience. Oshuto and Kiichi heads are both used for the roles of aged men. Oshuto is typically used to portray an aged warrior. Although the wrinkles on the face represent age, the fearless expression displays the characteristics of a retired warrior. Kiichi is a head also used for an aged warrior. However, the facial expression of wisdom represents an important figure. The six female heads are Musume, Fuke-oyama, Baba, Keisei, Baku-ya, and O-Fuku. Musume is the most beautiful and appealing female head for a common woman in Bunraku. It is used for roles for young women from fifteen years of age and onwards. It can also be used for young wives. Fuke-oyama is a head dedicated to young-middle aged women, aged twenty to forty. These heads are also very beautiful, but the different hairstyle portrays a greater degree of maturity. Baba is a head which is divided into two different-looking heads. One is used for historical plays and the other is used for domestic plays. The historical head is used for significant older roles in historical plays. The hair of this head is very smooth compared to rough hair in the domestic version, which is used mainly for old townswomen. Keisei is considered to be the most elegant head in its appealing facial features and elaborate hair style. It is used for courtesan women in the high social classes. Baku-ya is the head use d for evil roles such as that of an old hag. The wrinkles, rough hair, and facial expression depict wickedness. Lastly, O-Fuku is a plump version of Musume. This head is used for the roles of servants. (paragraph of references) With such details in terms of make-up of the puppets, a conclusion could be formulated that Bunraku heavily relies of make-up as an element of performance. The various make-up patterns expressed in the form of a range of heads lead to the build-up of the personalities of various characters on stage. These typical heads resembling various characters can also be found in the make-up of Kathakali. In Kathakali, the traits of the character depend on the color scheme of the make-up. There are five different styles of make-up in Kathakali: Minukku,Paccha, Katti, Taadi, and Kari. Minukku is the make-up used for characters designated in the upper class of society. Through the polished make-up scheme, a sense of glorified piety is shown in a disciple character. When used with women roles, delicate touches of Minukku are provided. Paccha is a style of make-up used to illustrate mythological heroes, Gods, and other characters with much importance. The characters valor and ethical distinction are portrayed by the purity of the green color used in this make-up. Katti, a make-up more complex than Paccha, is used for antagonistic roles which are opposite the heroes of the play. The resemblance of the make-up to sharply bent daggers portrays the characteristics of evil ambition and arrogance. T aadi is a make-up structure of a beard which is divided into three parts: Veluppu taadi, Chuvanna taadi, and Karuppu taadi. Veluppu taadi is a beard used for warrior roles. This beard brings a sense of realism to these mythological fighters. Chuvanna taadi is a beard used to add dreadfulness to characters. Used mainly for evil characters, this make-up can also be used for adding evilness to lesser malevolent characters. Burning red eyes and thick black lips are used to help portray this image. Karuppu taadi is the last type of taadi make-up. This beard is black and is used for thieves and robbers. The last type of make-up in Kathakali is Kari. This make-up is also used for evil characters. The black face represents the presence of blackness inside the character. (paragraph of references) Make-up in Bunraku is centered on the presentation of the different heads. In Kathakali, the way different make-up styles are combined defines characters. In both traditions, the purpose is similar: to reveal the characteristics and assign various stock roles to various styles of presentation. Instantly, a relation between the two traditions is established. Of course, there are differences in the details of each element. Nonetheless, in the two performance aspects investigated, the intentions in Bunraku and Kathakali are fundamentally alike. The significance of these relations is further elaborated when the third one is made, which is based on movement. Movement: Movement is the last element in Bunraku and Kathakali in discussion. Since none of the performers speak, movement is the medium through which they communicate the chanters message to the audience. The movement is the key aspect to the conveyance of the theme of the performance. In Bunraku, the puppeteers maneuver the puppet according to the chanter in order to keep up with the tempo of the performance. (The Puppets) In Kathakali, the movement is the prime source of communication to the audience through very intricate facial expressions and complicated hand movements. In Bunraku, the movements of the puppets are maneuvered by three puppeteers: the omo-zukai, hidari-zukai, and ashi-zukai. The omo-zukai is the head puppeteer. He controls the puppets head and right hand. The head is controlled by a stick wired with levers to control various facial parts such as the eyes, eyebrows, and mouth. The omo-zukai holds this lever with his left hand and operates the puppets right hand with his right hand. The hidari-zukai is the puppeteer that controls the puppets left hand. He does so with his right hand. Most hand gestures made by puppets are performed by the left hand because its movement is specifically exercised by the hidari-zukai. Lastly, the least experienced puppeteer out of the three is usually the ashi-zukai, who controls both feet of the puppeteer with both his hands. These three puppeteers train for years to acquire a state of harmony in their movements. If the movements are not presented with a state of synchronization, the puppeteers fail to br ing the puppet to life because the movements seem abnormal to the audience. The biggest challenge presented to puppeteers is the elemental requirement to empathize with the puppet. For example, at a particular point in a play, if the puppet is sad, the puppeteer must develop a state of sadness in order to perfect the movement assigned to him. If all three puppeteers empathize this way, harmony in movement is reached and the puppet is brought to life. (paragraph of references) Kathakali also incorporates a large degree of movement in its performances. Most of the performance is based on the movement of the character. The element of movement is so extensive that an entire language has been developed using the hands of the performer. This language is based upon mudras. There are twenty-four basic mudras, or letters that can be combined to form words and phrases. Along with mudras, there are nine basic facial expressions known as the nava rassas. These facial expressions depict the mood of the character. They represent a stylized form of everyday expressions. The movements conducted by the feet follow the beat of the orchestra. They help in the addition of technique to the rest of the movements. When combined, the make-up represents the personality of a character, the facial expressions represent the mood, and the dialogue is spoken through the mudras. All aspects of a character are covered through the make-up and movement, representing a very stylized way of conducting a dance-drama. (paragraph of references) In both theatrical traditions, the movement is essential in bringing the production to life. In the case of Bunraku, this is done is by creating the perception of bringing the puppets to life. In Kathakali, this is done through a language based heavily on movement. The movement controls the dialogue in both cases. Thus, both traditions have a very similar use of movement. Conclusion: Bunraku Puppet Theater is a tradition that began as a combination of two traditions: storytelling and puppetry. Early Bunraku saw the rise of the Osaka Theater, founded by Takemoto Gidayu. After some highs and lows, Bunraku is still a popular form of theater in Japan. In another part of the world, Kathakali originated from a political brawl where the Raja of Kottarakkara created a dance-drama called Raamanaattam. This form of dance-drama, with some perfection, became modern-day Kathakali. There are many similarities, however, despite the differences in the cultural evolution of these traditions. One tradition evolved in the coastal region of modern-day Japan while the other evolved on the region surrounded by the southern tip of India. Regardless, both of these traditions rely on facial features to describe the characters involved in the drama. In Bunraku, it is the different painted heads. In Kathakali, it is the stylistic make-up. Also, both Bunraku and Kathakali contain specific a dditional performers. The stunning fact is that in both styles, the additional performers have similar duties. There is a recite/chanter and there is musical accompaniment. Lastly, the movement element in Bunraku and Kathakali is heavily relied upon to create harmony in Bunraku and convey messages in Kathakali. All these similarities are fascinating considering the differences amongst these two traditions. One must ponder how these similarities came into existence. Was it mere coincidence? Could Darwins theory of evolution be implied here? These similarities could pave the way for further investigation into these two traditions and maybe, the world would be able to see a Bunraku play performed the Kathakali way or a Hindu text performed with Bunraku puppets. This research can lead to a whole new dimension of theatrical study. Bibliography The Chanter and the Shamisen Player. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Heads for Female Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . Heads for Male Roles. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 17 July 2009. . The History of Bunraku-1. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 18 June 2009. . The International Centre for Kathakali. New Delhi: International Centre for Kathakali, n.d. Print. Johnson, Matthew. A Brief Introduction to the History of Bunraku. Sagecraft. 14 Aug. 1995. Web. 21 July 2010. . Kathakali. The Art Forms of Kerala. Web. 17 July 2009. . Narayanan, Akavoor. Kathakali The Total Theatre Nonpareil. Kathakali Journal of The International Centre for Kathakali May 2009: 12+. Print. The Puppets. An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Rajan, Anjana. Kathakali. Art India. Web. 17 July 2009. . Unikrishan. Movement and Themes of Kathakali. Personal interview. 18 July 2009. What is Bunraku? An Introduction to the World of Bunraku. Japan Arts Council, 2004. Web. 24 Mar. 2009. . Photograph Bibliography Heads for Female Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Heads for Male Roles. Photograph. Japan Arts Council. An Introduction to the World of Bunraku. Japan Arts Council. Web. 17 Jan. 2010. . Various Colourful Costumes Makeup in Kathakali. Photograph. Cochin Cultural Centre, Kochi. Cochin Cultural Centre. Cochin Cultural Centre. Web. 17 Jan. 2010. .

Free Essays - Great Expectations :: Great Expectations Essays

There were several themes associated with the novel Great Expectations. One of the most fascinating themes dealt with "infatuation and how it compares to and relates to love" ("Infatuation"). Infatuation is basically an obsession, or extravagant affection towards a person (Webster, 667). There is really no definite reason behind their passion, therefore this feeling is often short in duration and indicative of faulty judgement (Webster, 667). The person doesn't know what these feelings mean, this is normally why they mistake it for love. Love, on the other hand, is an intense affectionate concern for another person (Webster, 772). It is a more selfless and settled feeling. You can compare the difference between love and infatuation with the cliche "All that glitters is not gold", the glitter illusion being infatuation and the gold being love, the real thing. As a person grows and experiences their feelings with many other people, the distinction between love and infatuation b ecomes more clear. This is because the person can compare feelings they have experienced in the past, with their present feelings. In Great Expectations we see how Pip's infatuation for Estella is "short in duration" (Webster, 667), as most infatuations are. Despite the fact that Estella is arrogant and rude, Pip is not only infatuated with her beauty and wealth, but also almost envies it. In fact the humiliation Estella puts Pip through, causes Pip to feel very lowly of himself and the way he has been brought up. This causes Pip's expectations to change from expecting to be Joe's blacksmith apprentice, to studying to become a gentlemen noticed and admired by Estella. As years pass, Estella 2 continues to play with Pip's heart, and Pip continues to unconditionally have feelings for her. Later, Estella marries a man named Bently Drummle, only causing Pip to, yet again, confess his love to Estella. Estella tells Pip "I know what you mean as form of words, but nothing more." (Dickens, 892) This basically means that Estella can hear what Pip is telling her, but she doesn't see how he could love her. Regardless of that, and the fact that Estella is to be married, Pip still continues to fantasize about Estella. Soon, Pip starts to learn more about her, and her past, through Miss Havisham. These talks with Pip helps make Miss Havisham into a kinder and happier person. Feeling that he cannot have Estella, and that the world around him has changed, Pip decides to propose to Biddy.

The Shoe Store Incident

This scenario provides a case for gender discrimination. Gender discrimination is illegal under Title VII (Bennett-Alexander & Hartman, 2007). In addition, in this scenario I will provide the legal and ethical issues that arise in this case. Furthermore, this paper will explain what Bob should do in this scenario.Title VII IssuesDiscrimination comes in all shapes and sizes, and managers have to be careful not to cross the line and do the wrong thing. Companies do not want lawsuits for discrimination or anything else. The storeçâ€" ´ best customer, Imelda, probably did not intend to offend anyone nor did she probably know that she was discriminating against anyone. Many times discrimination is not intended. Customers generally believe they are always right and get what they want.However, in this instance the customer is very wrong. Requesting a female employee over a male employee is a form of discrimination, gender discrimination. Gender discrimination is illegal under Title VII (Be nnett-Alexander & Hartman, 2007). If Bob asks Tom to step aside and allow Mary to assist Imelda with her purchases, he will be Ã¥ ¦ ¬n violation of Title VII and can be held liable to the employee for gender discrimination. Customer preference is not a legitimate and protected reason to treat otherwise-qualified employees differently based on gender(Bennett-Alexander & Hartman, 2007, p. 283). Legally and ethically, Manager Bob cannot swap employees Tom and Mary simply because Imelda wants it.Choice Tthe customer is promising to buy five pairs of shoes if she gets a female employee to help her. This would be a huge purchase for the store, great for the profit margin as well as a large commission for the employee. On the other hand, not providing afemale employee may denote a missed sale, Imelda may leave the store. Swapping employees would cheat Tom out of his commission. This would be unethical. Tom deserves his commission; he should not be asked or told to give this up.The Shoe Sto re has very clear company policies. Company policy does not allow two employees to split the commission (UOPX, 2013, para. 5). As stated previously, having Tom give up his commission would not be fair. Company policy rotates employees to keep commissions as fair and equal as possible (UOPX, 2013, para. 5).Manager Bob need to explain to Imelda as nicely and calmly as possible that he is very sorry, but cannot provide her with a female employee. Bob should promise Imelda that Tom is a very nice man and that she will be in very capable hands; ensure her that Tom knows shoes and will treat her and her feet right. Bob should smile and guarantee her that she will be happy with the service she receives. Bob should apologize for the problem, explain that he contacted his regional manager to see if he could make an exception to company policy this time and was told no, and explain that the company risks a discrimination lawsuit. Finally, tell Imelda that he understands if she chooses to shop elsewhere today and apologize again. Bob should not get into an argument with the customer; it is out of the stores control.Conclusion Knowing the law is important for any manager. When questions arise that cannot be answered easily, ask for help. Title VII does not allow discrimination because of gender, meaning a man cannot be treated differently from a female and visa verse. In this case, all must be treated equally. Company policy will not allow Tom and Mary to split the commission and asking Tom to give up his commission would be illegal. Imelda will need to make her own decision whether to shop at the Shoe Store and allow Tom to assist her or leave for another store or until another day. The company must do what isright and legal. The store must treats its employees properly and do what is legal and ethical. Whereas Imelda may not be happy, the company cannot do anything that may bring a lawsuit against them.

Simple Déjeuner French Verb Conjugations

A single French verb,  dà ©jeuner,  is used to say to have lunch. Its a very specific word and identical to the noun for lunch,  le dà ©jeuner.  Learning how to transform, or conjugate, the verb into the past, present, or future tense is rather simple as this quick lesson will demonstrate. Conjugating the French Verb  Dà ©jeuner In English, we use -ed and -ing endings to conjugate verbs. Things  are a little more complex in French because we need to use a new ending for every subject pronoun within each tense. That means you have more than just a few words to memorize. Dont worry, though,  dà ©jeuner  is a  regular -ER verb  and that makes conjugating it just a little easier. This is particularly true if youve already memorized similar verbs such as  cuisiner (to cook)  and  demander (to ask).   To conjugate  dà ©jeuner, pair the subject pronoun with the appropriate tense. For example, I am having lunch is je dà ©jeune and we will have lunch is nous dà ©jeunerons. Practice these in context and youll be one step closer to memorizing all the forms. Subject Present Future Imperfect je djeune djeunerai djeunais tu djeunes djeuneras djeunais il djeune djeunera djeunait nous djeunons djeunerons djeunions vous djeunez djeunerez djeuniez ils djeunent djeuneront djeunaient The Present Participle of  Dà ©jeuner The  present participle  of dà ©jeuner  is  dà ©jeunant. Its as simple as adding -ant  to the verb stem. Beyond its use as a verb, it can also become an adjective, gerund, or noun when needed. The Past Participle and Passà © Composà ©Ã‚   The  passà © composà ©Ã‚  is a common way to express the past tense had lunch in French and its an alternative to the imperfect. To construct this, conjugate the  auxiliary verb  avoir  to fit the subject pronoun, then add the  past participle  dà ©jeunà ©. For example, I had lunch is jai dà ©jeunà © while we had lunch is nous avons dà ©jeunà ©. More Simple  Dà ©jeuner  Conjugations You may also find one of the following forms of  dà ©jeuner  useful as your fluency progresses. The subjunctive verb mood implies some sort of uncertainty to the action. Similarly, the conditional form says that the action will only take place  if  something else does. In literature and formal writing, the passà © simple or the imperfect subjunctive may be found. You might not use these yourself, but knowing of them will help your French reading comprehension. Subject Subjunctive Conditional Pass Simple Imperfect Subjunctive je djeune djeunerais djeunai djeunasse tu djeunes djeunerais djeunas djeunasses il djeune djeunerait djeuna djeunt nous djeunions djeunerions djeunmes djeunassions vous djeuniez djeuneriez djeuntes djeunassiez ils djeunent djeuneraient djeunrent djeunassent The imperative verb form is extremely easy and its used with just three subject pronouns. However, you do not have to include the pronoun itself: use dà ©jeune alone rather than tu dà ©jeune. Imperative (tu) djeune (nous) djeunons (vous) djeunez