Like kabuki, the traditional art of rakugo storytelling developed in the densely populated regions of Edo (present day Tokyo) and Kamigata (encompassing Kyoto and Osaka). Each became a distinctive style known respectively as Edo rakugo and Kamigata rakugo.
One key difference between these styles is, of course, the lingo used; another is that the samurai regularly featured in Edo rakugo almost never appear in the Kamigata variety. This likely reflects the nature of the two cities: Edo was a city of samurai, while Kyoto was one of merchants.
Other differences include the fact that many stories in Edo rakugo make fun of people from rural areas, while Kamigata rakugo makes frequent use of music, such as shamisen and other background music played backstage.
Edo and Kamigata rakugo do have many topics in common as well. I don't have detailed information, but one storyteller has told me, "Seventy percent [of rakugo] is originally Kamigata rakugo."
Many stories were incorporated into Edo rakugo by changing the place names from those of Kamigata. Even when stories are almost entirely the same, details such as the type of noodles eaten are changed -- udon in Kamigata versus soba in Edo.
Katsura Bunchin is a veteran storyteller of Kamigata rakugo known for wearing round spectacles. He is a nationally known entertainer whose activities also include hosting TV shows.
Bunchin had been scheduled to hold a large rakugo event commemorating his 50 years in show business, involving a total of 20 performances at the National Theatre in Tokyo's Hanzomon area from the end of February to March.
Due to the spread of the coronavirus, however, theaters have been forced to suspend performances across the board. Some of Bunchin's performances have been postponed as well.
For the performances that did take place from opening day through the sixth day, only about half of the seats were filled.
Bunchin must be feeling slightly embarrassed, but according to Bunchin, "When people ask me why I do this, all I can say is, 'I love it.'" He went on stage with a smile, never once whining or complaining.
Bunchin performs both classic rakugo and new stories he wrote himself, and one of his particular characteristics is how easy his rakugo is to understand, giving it widespread appeal.
Like a baseball pitcher who can throw fastballs and curveballs with the same form, he has mastered a natural speaking style for both old and new stories. With classic stories in particular, Bunchin casually and very naturally substitutes words and customs that are difficult for modern audiences to understand.
In a recent interview, Bunchin said: "Storytellers must always be in step with the times. If something doesn't match the times, you should change it.
"My predecessor [Katsura Beicho] said, 'Upgrading the classics is like taking an old statue of the Buddha in your hand.' But a storyteller has to repair it well so the main body doesn't break."
I think this is true not just for rakugo, but for all traditional art forms.
In times of trouble, I listen to rakugo that depicts a peaceful world, and it makes me deeply aware of the precious nature of everyday life. After one rakugo performance I saw, the music that played as the audience left after the curtain call was Queen's "Don't Stop Me Now."
As the lyric "Don't stop me now, I'm having such a good time," played, it reminded me of Bunchin's fervent desire to continue to be on stage and have fun. The show made me very emotional.
-- Morishige covers traditional performing arts.
Read more from The Japan News at https://japannews.yomiuri.co.jp/
