Bunraku e Android-Human Theater. Un confronto tra scena tradizionale e contemporanea in Giappone

Abstract – IT Questo articolo affronta il tema del bunraku, forma classica del teatro delle marionette giapponese, esponendone brevemente la struttura e gli elementi costitutivi (musica per shamisen, narratore, manipolatore e marionetta). In particolar modo ci si è soffermati sulla componente visiva dello spettacolo, ossia sul rapporto che lega i manipolatori alla marionetta. Questa scelta è finalizzata a svolgere un confronto con il nascente teatro degli androidi, che in Giappone ha il suo primo esempio nelle opere del regista Hirata Oriza. Dal confronto si evidenzia una continuità tra queste due forme teatrali tanto lontane nel tempo, quanto vicine negli intenti: dar vita all’oggetto inanimato. Abstract – EN This article outlines bunraku, a classical form of Japanese puppet theatre, briefly focusing on the structure as well as on dramatic components (music for shamisen, chanter, puppeteers and puppet itself). More specifically, we concentrate on visual features of the play, or the relationship between puppeteers and puppet. The aim is to compare it with the rising android theatre, which in Japan is exemplified by Hirata Oriza's work. Such comparison enlightens a continuity between these two theatrical forms, which are as distant in time as close in the intentions: giving life to an inanimate object.

This artcle outlines bunraku, a classical form of Japanese puppet theatre, briefy focusing on thestructure as well as on dramatc components (music for shamisen, chanter, puppeteers and puppetitself). More specically, we concentrate on visual features of the play, or the relatonship betweenpuppeteers and puppet. The aim is to compare it with the rising android theatre, which in Japan isexemplied by Hirata Oriza's work. Such comparison enlightens a contnuity between these twotheatrical forms, which are as distant in tme as close in the intentons: giving life to an inanimateobject.