Bunraku

Originally, the term "Bunraku" referred only to the particular theater established in 1872 in  Osaka, which was named the //Bunrakuza//after the puppeteering ensemble of Uemura Bunrakuken, an early 19th century puppeteer on Awaji, whose efforts revived the flagging fortunes of the traditional puppet theater in the 19th century. The later prominence of the National Bunraku Theater of Japan, which is a descendant of the theater founded by Bunrakken, has popularized the name "Bunraku" in the twentieth century to the point that many Japanese use the term to refer generically to any traditional puppet theater in Japan. However, almost all of the traditional puppet troupes currently in existence outside Osaka were founded and named long before the appearance of Uemura Bunrakukken and his theater, so they generally do not use the word to describe themselves. The exception is the few troupes that were organized by puppeteers from the Bunraku-za or its successors who left Osaka to found theaters in the provinces.

Three kinds of performers take part in a bunraku performance: Occasionally other instruments such as taiko drums will be used. The most accurate term for the traditional puppet theater in Japan is //ningyō jōruri//. The combination of chanting and shamisen playing is called [|//jōruri//] and the Japanese word for puppet is //ningyō//. Bunraku puppetry has been a traditional activity for Japanese citizens for hundreds, even thousands of years. For many it is something which is of great excitement and something which ties younger generations to the ways of the past in Japan.
 * Bunraku**, is a form of traditional Japenese puppet theater, founded in Osaka in 1684.
 * Ningyōtsukai or Ningyōzukai - Puppeteers
 * Tayu - the chanters
 * Shamisen players

Bunraku puppets range in size from two-and-a-half to four feet tall or more, depending on the age and gender of the character and the conventions of the specific puppet troupe. The puppets of the Osaka tradition tend to be somewhat smaller overall, while the puppets in the Awaji tradition are some of the largest as productions in that region tend to be held outdoors. The heads and hands of traditional puppets are carved by specialists, while the bodies and costumes are often constructed by puppeteers. The heads can be quite sophisticated mechanically. In plays with supernatural themes, a puppet may be constructed so that its face can quickly transform into that of a demon. Less complex heads may have eyes that move up and down, side to side or close, and noses, mouths, and eyebrows that move.

This is very good. There is nice detail and information. I dont think there is much I can say in ways of improving it. I am very conused about the elements of somethign phrase which I accidently deleted.-Joy

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