A Collection of New and Original Rakugo Stories

Fallen Words By Kristine Ohkubo

INTRODUCTION

Fallen words is the literal English translation of the Japanese term rakugo (落語). What is rakugo? Noriko Watanabe, an assistant professor at Baruch College, once described rakugo as “a sitcom with one person playing all the parts.” In that regard the statement is quite true. Rakugo is a minimalistic performance art enacted by a lone storyteller who portrays all of the characters in the story while utilizing only two props, a sensu (a paper fan) and a tenugui (a hand towel), to help convey the narrative. The performer seamlessly switches from one character to another by changing their voice, facial expression, mannerisms, and accent to fit the individual who is speaking.

Since rakugo does not utilize elaborate sets and costumes, mannerisms are key to portraying specific characters in the story. For example, a subtle change in where and how the storyteller places their hands signals the change of character during the storytelling process. If the storyteller folds their hands daintily on their lap, the audience understands that they are portraying a female character. Sometimes the performer will touch the collar of their kimono and appear demure when portraying a female role. On the other hand, by extending their elbows outward and placing their hands on their hips the storyteller can portray a big, burly samurai.

Additionally, the two props are given a great deal of versatility in the stories as they are used to represent a wide range of items. For instance, a sensu can represent a writing brush, a pair of chopsticks, or a pipe. A tenugui can represent a wallet, a tabako-ire (Edo era tobacco pouch), or a book.

Rakugoka (storytellers) also utilize the rule of kami-shimo or stage left and stage right when they are relating their stories. This rule is related to Japan’s vertical society and social ranking system. When the performer is portraying a character who is older or holds a higher status in society such as a father or a samurai, they face the kamite or stage left side when speaking. When the storyteller is portraying a person who is younger or holds a lower status such as a female or a child character, they speak their lines facing the shimote or stage right side of the stage from the performer’s perspective.

The popular narrative art of rakugo dates back to the Edo period (1603–1867) and consists of a repertoire of more than 500 classical stories. These stories were seldom written down and have been passed down as an oral tradition from master to disciple over the centuries. However, there were some early performers such as Sanyutei Encho (April 1, 1839 – August 11, 1900), who actually had their stories published.

Encho cooperated with Takusari Koki, the inventor of sokki or the Japanese shorthand system. While Encho recited his tales on stage, students from Takusari’s stenography school sat backstage and used the new system of shorthand to transcribe his stories, which were later made into a shorthand book and serialized in newspapers. Some of his stories were even remade as kabuki plays.

In addition to the koten (classical) rakugo stories, there is a substantial collection of shinsaku (new and original) rakugo stories written and performed by contemporary rakugoka on a continuing basis. While these modern stories are usually inspired by warmhearted daily life drama or current events, they still generally incorporate characters that have been used since the Edo period.

Although the majority of rakugo tales are comical in nature, there are stories whose central theme incorporates human interest or macabre topics.

Before getting into the main story, a rakugoka warms up with a makura or a short funny tale that is related to the performance. The makura is a multi-purpose tool in the storyteller’s arsenal. It can be used to amuse the audience and get them to relax before the start of the main story, to lead the audience into the main topic of the story using a related scene, or as a means to set up the final punchline.

The story typically ends with a punchline known as an ochi (fall). The ochi can be delivered in the form of a joke, a dajare (pun), by returning to the beginning of the story, or by turning things or positions around (sakasa), among other things. Current Kamigata rakugo storyteller, Katsura Bunshi, is among the most prolific in the world of rakugo. To date, he has produced 300 original rakugo stories.

The wonderful thing about rakugo is that each rakugo performer conveys the story to their audience in their own unique way. Performers often change the original story to better suit their audience; taking into account the time and place of the performance. As a result, not only will an audience be able to enjoy different renditions of the same story delivered by different storytellers, but they can also witness the same storyteller slightly altering the story to match the milieu. In this sense, rakugo never gets old.

As the author/ editor of three rakugo books introducing English-speaking audiences to Japan’s delightful storytelling tradition, I thought it would be fun to compile and release a collection of my own original English rakugo stories. I hope these stories will enlighten and entertain you.