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Awa Jurobe Yashiki Puppet Theater and Museum

This theater and museum complex offers visitors a chance to experience and learn about the unique puppet theater of Tokushima: Awa Ningyo Joruri. A combination of storytelling, music, and puppetry, the art form is a designated Important Cultural Property. Awa is the former name of Tokushima Prefecture, and Ningyo Joruri means puppet theater.

Local puppeteer troupes perform once or twice daily at the Awa Jurobe Yashiki Puppet Theater. Visitors can learn more about the puppets, the costumes, and the history of this performing art in the adjoining exhibition room, where they can even try their hand at operating the puppets. The complex stands on the former estate of a village headman named Bando Jurobe (1646–1698), and includes his traditional garden.

Roots in Farming Communities

Tokushima’s puppetry shares roots with Japan’s mainstream puppet theater, Bunraku. However, as Awa Ningyo Joruri was often performed on outdoor stages, its puppets tend to be larger so that they may be viewed more easily from a distance. Depending on the age and gender of the character, the puppets can be half to two-thirds life-size. Tokushima puppets usually have a glossy painted finish, unlike the matte surface of those used in Bunraku.

Awa Ningyo Joruri came to the region from Awaji Island, to the north of Tokushima Prefecture. Hachisuka Iemasa (1558–1638), the first lord of Tokushima, enjoyed puppet theater and promoted it widely. However, it was the farming families who truly embraced this art form and made it their own. Inspired by visiting troupes from the island, amateur Tokushima groups were performing on outdoor stages by the second half of the Edo period (1603–1868). These stages were usually located on the grounds of shrines, where puppet theater was performed as an offering to the gods. Today, around 80 outdoor stages are still maintained in Tokushima Prefecture.

Over time, puppet theater spread throughout the entire prefecture, benefitting from Tokushima’s flourishing indigo industry and its wealthy merchants, who became the art’s patrons. Tokushima also developed a reputation for its skilled puppet makers, who supplied both the professional troupes of Awaji Island as well as the local amateurs. Puppet theater remained very popular locally, even after other forms of entertainment, such as movies and modern theater, took over in big cities like Tokyo and Osaka. Eventually, though, the spread of those forms of entertainment from the 1930s, coupled with the escalation of World War II in the 1940s, led to a decline in audiences. Most of the troupes in Tokushima disbanded around this time.

Puppet theater made a comeback in the second half of the twentieth century when it was introduced into school curriculums and the younger generation started taking an interest in it. Today, in addition to the daily showings at the Awa Jurobe Yashiki Puppet Theater, outdoor performances are staged regularly. Around 40 puppet makers remain active in Tokushima, crafting puppet heads for troupes all over Japan.

Performances Are a Team Effort

A team of three people operates each lead character in Awa Ningyo Joruri. The chief puppeteer is responsible for the head and the right hand and arm, while the other two control the puppet’s legs and left hand and arm. The mechanisms are designed to allow for natural expressions and realistic movements. Puppets can open and close their mouths, raise and lower their eyebrows, and move their hands to make a wide range of gestures. Currently, there are 70 different heads, representing both male and female characters with a diverse range of ages, personalities, and roles in society. In size, a head may measure as much as 18 centimeters in length. Wigs are typically fashioned of human or yak hair.

Puppeteers typically dress entirely in black for the performances, so that they are less noticeable on stage. The chief operator needs to stand higher than the other two, so he or she wears raised wooden clogs, the soles of which are made of straw to absorb sound.

Awa Ningyo Joruri performances also feature a narrator and a musician who plays the three-stringed shamisen. Facing the audience from the right side of the stage, the narrator conveys the emotions of each character, and may even dramatically laugh or cry as the story demands. A copy of the script sits on top of a heavy wooden stand in front of the narrator. The shamisen player commits the entire performance to memory and sets the appropriate mood as the play progresses.

An Enduring Family Drama

One of the most famous Awa Ningyo Joruri plays is Keisei Awa no Naruto (The Tragedy of Naruto), which the playwright Chikamatsu Hanji (1725–1783) adapted from Yugiri Awa no Naruto (Yugiri and the Awa Whirlpool) by the dramatist Chikamatsu Monzaemon (1653–1725). First performed in Osaka in 1768, the work originally consisted of ten acts, but it is mainly the eighth that is performed today. This is divided into two parts, “The Scene of the Pilgrim Song” and “The Scene at Jurobe’s House.” Both follow the subplot of a family of three—Jurobe, his wife Oyumi, and their young daughter, Otsuru.

It is the first scene, known for its touching interaction between mother and daughter, that audiences will usually see at the Awa Jurobe Yashiki Puppet Theater. English versions of the script are provided.

阿波十郎兵衛宅邸的人形淨琉璃（人偶劇）

阿波十郎兵衛宅邸集劇場和博物館於一身，讓來訪者有機會體驗和瞭解德島獨特的人偶劇「阿波人形淨瑠璃」、這種木偶劇也是國家重要非物質民俗文化財產。「阿波」是德島縣的舊稱，「人形淨瑠璃」（文樂）則是結合了敘事、音樂和人偶演繹的傳統表演藝術形式。

演出由當地人偶劇團承擔，每天一到兩場，參觀者可在宅邸劇場旁的幾個展室裡瞭解更多關於人偶、戲服和這種表演藝術的歷史等知識，甚至可以嘗試親自操作人偶。

這處宅邸是過去當地一位村長坂東十郎兵衛（1646-1698）的私宅，裡面還保留著他打理的傳統日式庭園。

源自農村的戲劇

德島的人偶劇與日本的主流人偶劇文樂（日本著名的古典舞臺藝術形式之一）同源。不過，阿波人形淨瑠璃經常在戶外舞臺上操演的人偶更大，以便人們更容易從遠處觀看。根據角色的年齡和性別不同，人偶大約分別是真人大小的一半到三分之二。德島人偶的表面帶有光澤，和表面不帶光澤的文樂人偶有所不同。

阿波人形淨瑠璃出自德島縣以北的淡路島，德島第一代藩主蜂須賀家政（1558-1638）喜愛人偶劇也曾大力推廣。然而，真正熱愛並讓這種藝術形式紮根的還是農村。江戶時代（1603-1868）下半葉，受到來自淡路島的劇團啟發，業餘的德島人偶劇團開始在戶外舞臺上表演。這些舞臺通常設於神社，在祭祀神靈時演出人偶劇。時至今日，德島縣內仍有約80座戶外舞臺。

隨著時間的推移，人偶劇在整個縣內傳播開來，德島繁榮的藍染產業和贊助人偶劇的商人都對這項民間藝術作出了貢獻。德島的人偶匠人素來享有盛名，淡路島的專業劇團和當地業餘愛好者所使用的人偶大都出自他們之手。即使在電影和現代戲劇等其他娛樂形式佔據了東京、大阪等大城市的主流市場之後，人偶劇依然是地方上深受歡迎的娛樂。20世紀30年代，現代娛樂開始興起，加上40年代二戰的影響，人偶劇的觀眾人數終究還是逐漸下降，德島的大部分人偶劇團都在這一時期解散。

20世紀下半葉，人偶劇被引入學校課程，引起了年輕一代的興趣而再度興起。如今，除了在阿波十郎兵衛宅邸人偶劇場每天舉行公演之外，當地也會定期舉辦戶外表演。仍然大約有40名人偶匠人以德島為據點替日本各地的劇團製作人偶頭像。

團隊合作的魅力

阿波人形淨瑠璃中，每個人偶主角都需要由一個三人組成的團隊來操作。首席人偶師負責頭部、右手和右手臂，另外兩位則控制人偶的雙腿、左手和左手臂。這樣分配是為了讓人偶擁有自然的表情和逼真的動作。人偶的嘴能夠開合、眉毛可上下跳動、靈活的雙手能擺出各種動作。目前，德島人偶劇已發展出包含男女角色在內的70種不同人偶頭像，分別代表不同年齡、性格和社會地位。人偶的頭像可高達18公分，頭髮通常由真人頭髮或犛牛毛製成。

人偶師在表演時身穿一襲黑色裝束（包括黑色頭套），這樣他們就能「隱身」於舞臺。首席人偶師需要站得比其他兩位高，因此會穿上增高的木屐，木屐底墊有稻草吸音。

阿波人形淨瑠璃的表演還包括一位太夫（敘事者，旁白說唱）和一位三味線（日本傳統弦樂器）演奏師。太夫在舞臺右側面對觀眾而坐，面前厚重的木架上放著劇本，負責傳達每個角色的情感，甚至可以根據劇情需要而發出戲劇化的哭聲或笑聲。三味線演奏師則需對整場演出瞭然於心，隨時掌控、調整表演的氣氛走向。

歷久不衰的家庭劇

阿波人形淨瑠璃的代表劇碼之一是《傾城阿波之鳴門》，由劇作家近松半二（1725-1783）改編自著名戲劇家近松門左衛門（1653-1725）的《夕霧阿波鳴門》。該劇於1768年在大阪首演，最初為十幕，現在主要演出的是第八幕。這一幕又分為兩部分——《順禮歌之段》和《十郎兵衛內之段》，講述的都是十郎兵衛、他的妻子阿弓和兩人的女兒阿鶴一家三口的故事。

觀眾在阿波十郎兵衛宅邸人偶劇場欣賞到的常常是該劇第八幕的前段《順禮歌之段》，主要講述感人至深的母女之情，現場還提供中文劇情概要。

阿波十郎兵卫宅邸的人形净琉璃（木偶剧）

集剧场和博物馆于一身的阿波十郎兵卫宅邸，是让游客有机会体验和了解德岛独特的木偶剧“阿波人形净瑠璃”的地方，这种木偶剧是国家重要非物质民俗文化财产。“阿波”是德岛县的旧称，“人形净瑠璃”则是结合了叙事、音乐和木偶演绎的传统表演艺术形式。

演出由当地木偶剧团承担，每天一到两场。参观者可在宅邸剧场旁的几个展室里了解更多关于木偶、服饰和这种表演艺术的历史等相关知识，甚至可以尝试亲自操作木偶。

这处宅邸的所在地过去是当地一位村长坂东十郎兵卫(1646-1698)的私宅，里面还保留着他打理的传统日式庭园。

源自农村的戏剧

德岛的木偶剧与日本的主流木偶剧文乐（日本著名的古典舞台艺术形式之一）同源。不过，由于阿波人形净瑠璃经常在户外舞台上表演，它使用的木偶更大，以便人们更容易从远处观看。木偶大约是真人的一半到三分之二大小，因角色的年龄和性别而异。德岛木偶的表面带有光泽，与表面不带光泽的文乐木偶有所不同。

阿波人形净瑠璃出自德岛县以北的淡路岛。德岛第一代藩主蜂须贺家政(1558-1638)喜爱木偶剧，也曾大力推广。然而，真正热爱并让这种艺术形式扎下根来的还是农户。江户时代(1603-1868)下半叶，受到来自淡路岛的剧团的启发，业余的德岛木偶剧团开始在户外舞台上表演。这些舞台通常设在神社里，在祭祀神灵时演出木偶剧。时至今日，德岛县内仍有大约80个户外舞台。

随着时间的推移，木偶剧在整个县内传播开来，德岛繁荣的蓝染产业和赞助木偶剧的商人对这项民间艺术作的贡献颇大。德岛的木偶匠人素来享有盛名，淡路岛的专业剧团和当地业余爱好者所使用的木偶大都出自他们之手。即使在电影和现代戏剧等其他娱乐形式占据了东京、大阪等大城市的主流市场之后，木偶剧依然是地方上深受欢迎的娱乐节目。20世纪30年代，现代娱乐开始兴起，加上40年代二战的影响，木偶剧的观众人数终究还是逐渐下降，德岛的大部分木偶剧团都在这一时期解散。

20世纪下半叶，木偶剧被引入学校课程，引起了年轻一代的兴趣而使其再度兴起。如今，除了在阿波十郎兵卫宅邸木偶剧场每天举行公演之外，当地也会定期举办户外表演。今天，德岛仍然大约有40名木偶匠人，为日本各地的剧团制作木偶头像。

团队合作的魅力

阿波人形净瑠璃中，每个木偶主角都需要由一个三人组成的团队来操作。首席木偶师负责头部、右手和右手臂，另外两位则操控木偶的双腿、左手和左手臂。这样分配是为了让木偶拥有自然的表情和逼真的动作。木偶的嘴能够开合，眉毛可以上下跳动，灵活的双手能做出各种手势。目前，德岛木偶剧已发展出包含男女角色在内的70种不同木偶头像，分别代表不同年龄、性格和社会地位。木偶的头像可高达18厘米，头发通常由真人头发或牦牛毛制成。

木偶师在表演时全身着黑（包括黑色头套），这样他们就能在舞台上“隐身”。首席木偶师需要站得比其他两位高，因此会穿上增高的木屐，木屐鞋底垫有稻草吸音。

阿波人形净瑠璃的表演还包括一位太夫（叙事者，旁白说唱）和一位三味线（日本传统弦乐器）演奏师。太夫在舞台右侧，面对观众而坐，面前厚重的木架上放着剧本，负责传达每个角色的情感，甚至可以根据剧情需要而发出戏剧化的哭声或笑声。三味线演奏师则需对整场演出了然于心，随时掌控、调整表演的气氛走向。

经久不衰的家庭剧

阿波人形净瑠璃的代表剧目之一是《倾城阿波之鸣门》，由剧作家近松半二(1725-1783)改编自著名戏剧家近松门左卫门(1653–1725)的《夕雾阿波鸣门》。该剧于1768年在大阪首演，最初为十幕，现在主要演出第八幕。这一幕又分为两部分，《顺礼歌之段》和《十郎兵卫内之段》，讲述的都是十郎兵卫、他的妻子阿弓和他们的女儿阿鹤一家三口的故事。

观众在阿波十郎兵卫宅邸木偶剧场欣赏到的常常是该剧第八幕的前段《顺礼歌之段》，主要讲述母女之情，感人至深。现场还提供中文剧情概要。