Talking About Rakugo 2: The Stories Behind the Storytellers

INTRODUCTION

Approximately 400 years ago, long before modern comedians developed the onstage presentation style recognized as stand-up comedy, a distinct form of comedic storytelling began to emerge in Japan. The art form developed primarily in urban areas such as Edo (Tokyo), Kyoto, and Osaka, and evolved into two distinct performance styles: Edo and Kamigata (Osaka). It became known as rakugo during the middle of the Meiji period (1868–1912), and it remains an integral form of live entertainment today.

Utilizing a feudalistic apprentice system, this minimalistic art of storytelling was verbally passed down from one generation to the next from master to disciple. The traditions that were established all those years ago continue to be practiced today, but adherence to the old and tried has not prevented rakugo from evolving during the modern age. Today, the stage once dominated by Japanese raconteurs has expanded to include a number of foreign practitioners. Additionally, rakugo is no longer presented in the Japanese language only. Rakugo performed in English and other languages such as French continues to gain popularity among audiences in Japan and overseas.

Rakugo storytelling is a unique performance that uses gestures and narration rather than costumes and props; and it requires a high degree of skill. A rakugo story is comprised of both narrative and dialog between multiple characters, all of which are conveyed by a single storyteller. The storyteller strives to express the personality of each character by differentiating their tone of voice, choice of words, manner of speaking, and other factors.

The realm of rakugo is inhabited by unique and congenial characters with which an average person can easily identify. Only in this domain will you encounter a complete but likeable fool like Yotaro, simpleton craftsmen like Hachigoro and Kumagoro, an adolescent apprentice like Sadakichi, and an irresponsible young master named Kotaro who spends all his time playing around in the pleasure quarter.

In principle, the only props permitted in rakugo are the sensu (a folding paper fan) and tenugui (a hand towel). These items are given a great deal of versatility in the stories as they are used to represent a wide range of items.

It is the job of the rakugoka (professional storyteller) to inspire their audience’s imagination through their skills in portraying the realm and characters of each story. At the time of writing this book, there were approximately 1,000 professional storytellers in Japan, and countless amateur storytellers hailing from all walks of life. Each one brings his or her own experiences, eccentricities, and authenticity to the unique world of rakugo.

Sometimes, the stories behind the storytellers entice the public as much as the stories they tell on stage. Rakugo storytellers are often as unique and interesting as the various characters they portray.