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english Tadanobu Sato o n t r o p s pas . 69.5 Inv Traditional African and Japanese Puppets Room century to be shown during honorary presentations. Perhaps it was given as a gift in recognition of honour, but to whom and when? It remained shrouded in mystery from 1920 to 1969, subsequently turning up at the Caracalla Gallery in Lyon from where it was purchased by the Friends of the Museum Society. Height 1m25 high by 50cm wide Disassembled, this puppet comprises only a sculpted wooden head placed on a costume supported at the shoulders by a sort of arch. The doll’s body is empty. However, this type of puppet can weigh up to 5kg. The main puppeteer can hang a mobile rod to this arch and hang the heavy doll via its hip when it is not being worked. name, first name Sato Tadanobu, belonging to the Genji clan (Minamoto) A man in turmoil Tadanobu appears in a popular play in Japan, The Thousand Cherry Trees of Yoshitsune, which was inspired by historical facts: when power passed from the emperor to the military clans in the 12th c., a long fight ensued between two opposing clans, the Heike (Taira) and the Genji (Minamoto). Minamoto no Yoritomo emerged victorious and appointed himself Shogun, military governor. But afraid that his younger half-brother would snatch the power from him, he tracked him down across Japan. grey words: items that can be seen in this room The Thousand Cherry Trees of Yoshitsune, a play written in 1747 by Takeda Izumo 2, Miyoshi Shoraku and Namiki Senryu 1, is a variation on the theme of this battle. Tadanobu who, to him, had not really existed, was an officer serving Yoshitsune. Date and place of birth, nationality between 1889 and 1920 at the National Bunraku-za Theatre of Osaka - Japanese Spiral, hallmark of the Grand Master Tamazo Yoshida 3 Puppets from this illustrious theatre and particular period are very rare. Two marks on the object confirm its birth: an ideogram dating back to 1889, showing where the head was sculpted, and a spiral marking on the arm stem stating that the doll was assembled by Tamazo Yoshida 3 (1860-1920). It was undoubtedly assembled at the turn of the | MARIONNETTES DU MONDE Type of puppet puppeteers perform in full view of the audience. This is currently known as bunraku style Bunraku? ningyô jôruri? Strictly speaking, the bunraku is, in fact, known as the ningyô jôruri, a style created in the late 16th c. in the Kyoto region and based on two traditions: the ningyô, puppets or dolls, and the jôruri, a story accompanied by the music of the shamisen. In fact, the term, bunraku did not appear until the 19th c., coined after the name of the great Osaka Sanninzukai, operated by three people puppeteer, Bunrakuken. As far as the purists are concerned, only the Osaka theatre, the Bunraku-za, presents ningyô jôruri bunraku. It was included on the International Human Heritage list as highlighting the innovations made since the 17th c. by the great names of the Osaka Theatre: the famous works of the “Japanese Shakespeare”, Chikamatsu, or the puppets for sophisticated manipulation. Mounted on high getas, a master omo-zukai controls the right hand and head of the puppet. With only his head exposed, he directs his two assistants, whose faces are veiled with black gauze, one of whom controls the left arm and the other one, the feet. This technique known as Sanninzukai has fascinated many You may find the notice boards of the museum rooms on our website, at www.gadagne.musees.lyon.fr .../... Tadanobu Sato english Physical appearance a wise young man of the Genta type The thousand and one heads of the bunrakus Most heads (kashira) can be used in different plays. Thus, the puppeteer assembles his puppet before each performance: He chooses a head from a collection of many, repaints it, styles the hair and clothes it, etc. There are approximately 70 types of heads, classified according to gender, social status and individual characteristics. Apart from the Genta type used for Tadanobu, the male heads currently used include the Komei, a wise man of about forty or so, or the Bunshichi, a man expressing sadness. The wigs are generally made from human hair. Hair taken from the tail of a yak can be added to create volume. Profession loyal officer (Bushi), serving Minamoto no Yoshitsune Tadanobu is a bushi, i.e. a warrior destined to fight in order to make his clan – the Minamoto – more powerful. Attached to his lord, he wears the coat of arms (Mons) of the Minamoto clan on his kimono. In the bunraku theatre, the Minamoto is represented by an oxcart wheel. A highly specific bushi According to the plot of A Thousand Cherry Trees…, Tadanobu is a very mysterious bushi! Instead of going off to fight, he stays at the side of Yoshitsune’s concubine, who he saves from the clutches of the shogun. He often dances with her to the sound of a certain sacred drum. The audience gradually understands that, in reality, it is a fox spirit, Genkuro Gitsune, who dons the guise of Tadanobu in order to follow the drum: in order to consolidate his position among the fox spirits, Genkuro must pay homage to his mother whose skin was used to produce the instrument. In the end, the Minamotos present him with the sacred drum on hearing his story. Father grand master puppeteer Tamazo Yoshida 3 (1860 – 1920) This is the person who brought this puppet to life, even though the head, which was undoubtedly sculpted anonymously, bears the signature of puppeteer Eizo Yoshida. Both worked at the Bunraku-za Theatre in Osaka over the same period. Become a great puppeteer or living national treasure! The Bunraku-za artists form a permanent troupe of professionals. They stand out from other traditional dramatic actors (kabuki…) where the names of prestigious scenes, styles of acting and roles are allocated by blood relatives. Here, the skilled disciple can take the name of the scene from his master. To do this, he must have served his master and finetuned his art for thirty years or so. Since 1955, the most brilliant performers are bestowed with the honorary title of Living National Treasure. Friends Shizuka-gozen, dancing concubine grey words: items that can be seen in this room Dance to the tones of the Shamisen In this play, the meeting between Shizuka and Tadanobu and the legend of the drum set the tone for subsequent scenes, the focal interest of which lies in music and dance (see: Yoshitsune Senbuca, Osaka Bunraku-za theatre, Place au spectacle circuit in the projection case). There is a dancing section (Michiyuki) in each of the repertoires. It is used between tragic episodes and is highly appreciated by the audience. MARIONNETTES DU MONDE 50 19 la | rie Ca racal Scene from One thousand cherry trees of Yoshitsune, with Tadanobu and Shizuka, Japanese print, 1866. © S. et J. Pimpaneau G al e Foreign visas 1969 ŒUVRE RESTAURÉE 2003 1: Essay by Paul Claudel You may find the notice boards of the museum rooms on our website, at www.gadagne.musees.lyon.fr Y. Takai / C. Déglise / P. Gausset / photo credits : X. Schwebel, R. Agustin ©BNF / © Foundation Oriente - J. Pimpaneau / illustration: A. Le Hy ©musées Gadagne western observers including Paul Claudel: “The puppeteer controls them very closely, side by side and they jump so violently you would think he would miss … The doll is the collective soul of this shadowy fragment, of this group of conspirators whose presence is soon forgotten”1.