, also known as ''Ningyō jōruri'' (), is a form of traditional Japanese puppet theater, founded in Osaka in 1684. Three kinds of performers take part in a bunraku performance:

Ningyōtsukai or Ningyōzukai - Puppeteers

Tayū - the chanters

Shamisen players

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 (or dolls, generally) is ''ningyō''.

Bunraku puppetry has been a documented traditional activity for Japanese citizens for hundreds of years.

History

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(植村文楽軒), 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, popularized the name "Bunraku" in the 20th century to the point that many Japanese now 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. Exceptions are the few troupes that were organized by puppeteers from the Bunraku-za or its successors who left Osaka to found theaters in the provinces.

Elements of the form

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.

Controls for all movements of parts of the head are located on a handle that extends down from the neck of the puppet and are reached by the main puppeteer inserting his or her left hand into the chest of the puppet through a hole in the back of the torso.

The main puppeteer, the ''omozukai'', uses his or her right hand to control the right hand of the puppet. The left puppeteer, known as the ''hidarizukai'' or ''sashizukai'', depending of the tradition of the troupe, manipulates the left hand of the puppet with his or her own right hand by means of a control rod that extends back from the elbow of the puppet. A third puppeteer, the ''ashizukai'', operates the feet and legs. Puppeteers begin their training by operating the feet, then move onto the left hand, before being able to train as the main puppeteer. This process can take 30 years to progress.

All but the most minor characters require three puppeteers, who perform in full view of the audience, generally wearing black robes. In some traditions, all puppeteers also wear black hoods over their heads, while others, including the National Bunraku Theater, leave the main puppeteer unhooded, a style of performance known as ''dezukai''. The shape of the puppeteers hoods also varies, depending on the school to which the puppeteer belongs.

Usually a single chanter recites all the characters' parts, altering his pitch in order to switch between various characters. However, sometimes multiple chanters are used. The chanters sit next to the shamisen player on a revolving platform, and from time to time, the platform turns, bringing replacement musicians for the next scene.

The shamisen used in bunraku has a sound which is different from other shamisen. It is lower in pitch, and has a fuller tone.

Bunraku shares many themes with kabuki. In fact, many plays were adapted for performance both by actors in kabuki and by puppet troupes in bunraku. Bunraku is particularly noted for lovers' suicide plays. The story of the forty-seven ronin is also famous in both bunraku and kabuki.

Bunraku is an author's theater, as opposed to kabuki, which is a performer's theater. In bunraku, prior to the performance, the chanter holds up the text and bows before it, promising to follow it faithfully. In kabuki, actors insert puns on their names, ad-libs, references to contemporary happenings and other things which deviate from the script.

The most famous bunraku playwright was Chikamatsu Monzaemon. With more than 100 plays to his credit, he is sometimes called the Shakespeare of Japan.

Bunraku companies, performers, and puppet makers have been designated "Living National Treasures" under Japan's program for preserving its culture.

Today

Osaka is the home of the government-supported troupe at National Bunraku Theater. The Troupe offers five or more shows every year, each running for two to three weeks in Osaka before moving to Tokyo for a run at the National Theater. The National Bunraku Theater Troupe also tours within Japan and occasionally abroad.

Until the late 1800s there were also hundreds of other professional, semi-professional, and amateur troupes across Japan that performed traditional puppet drama.

Since the end of World War II, the number of troupes has dropped to fewer than 30, most of which perform only once or twice a year, often in conjunction with local festivals. A few regional troupes, however, continue to perform actively.

The Awaji Puppet Troupe, located on Awaji Island southwest of Kobe, offers short daily performances and more extensive shows at its own theater and has toured the United States, Russia and elsewhere abroad.

The Tonda Traditional Bunraku Puppet Troupe of Shiga Prefecture, founded in the 1830s, has toured the United States and Australia on five occasions and has been active in hosting academic programs in Japan for American university students who wish to train in traditional Japanese puppetry.

The Imada Puppet Troupe, which has performed in France, Taiwan, and the United States, as well as the Kuroda Puppet Troupe are located in the city of Iida in Nagano Prefecture. Both troupes, which trace their histories back more than 300 years, perform frequently and are also active in nurturing a new generation of traditional puppeteers and expanding knowledge of puppetry through training programs at local middle schools and by teaching American university students in summer academic programs at their home theaters.

The increase in interest in Bunraku puppetry has contributed to the establishment of the first traditional Japanese puppet troupe in North America. Since 2003, Bunraku Bay Puppet Troupe, currently based at the University of Missouri in Columbia, Missouri, has performed at venues around the United States, including the Kennedy Center for the Performing Arts and the Smithsonian Institution, as well as in Japan. They have also performed alongside the Imada Puppet Troupe. The Center for Puppetry Arts in Atlanta, Georgia has an extensive variety of Bunraku puppets in their Asian collection. Asian Collection at the Center for Puppetry Arts

"Bunraku" in the west

In Europe and the Americas, the term "Bunraku" is often used among puppeteers to describe puppets that are manipulated in a way similar to those in traditional Japanese Bunraku theater, in contrast to hand puppets, rod puppets, shadow puppets, or marionettes. The characteristics of Western "bunraku" usually include multiple, visible puppeteers who manipulate the puppet directly. Other elements emulating traditional Bunraku theater may be present. Western puppeteers have found the term useful to describe this unique traditional Japanese puppetry.

The voice and the music

The singer and the "shamisen" player provide the essential background music of "bunraku". In most performances only a musician and a chanter perform the music for an act. Harmony between these two musicians is an essential criteria that determines the quality of their contribution to the performance.

The chanter, "tayu"

The role of the "tayu" is to express the emotions and the personality of the puppets. The "tayu" performs not only the voices of each of the characters but also performs the voice of the narrator.

Located to the side of the stage the "tayu" physically demonstrates facial expressions of each character while performing their respective voices. While performing multiple characters simultaneously the "tayu" facilitates the distinction between characters by exaggerating their emotions and voices. This is also done to maximize the emotional aspects for the audience.

The "shamisen" player

In "bunraku" the "futo-zao shamisen" which is the largest "shamisen" as well as that of the lowest register is employed.

The orchestra

The instruments most frequently used are flutes, in particular the "shakuhachi", the "koto" and various percussion instruments.

Bunraku puppets

The head

The heads of the puppets ("kashira") are divided into categories according to gender, social class and personality. Certain heads are created for specific roles, others can be employed for several different performances by changing the clothing and the paint. The heads are in effect repainted and prepared before each presentation.

The preparation of the hair constitutes an art in and of itself. The hair distinguishes the character and can also indicate certain personality traits. The hair is made from human hair however yak tail can be added to create volume. The ensemble is then fixed on a copper plate. To ensure that the puppet head is not damaged, the finishing of the hairstyle is made with water and bee's wax, not oil.

The costume

The costumes are designed by a costume master and are composed of a series of garments with varying colors and patterns. These garments typically include a sash and a collar as well as an under robe (''juban''), an inner kimono (''kitsuke''), a vest (''haori'') or an outer robe (''uchikake''). In order to keep the costumes soft they are lined with cotton.

As the clothing of the puppets wear out or are soiled the clothing is replaced by the puppeteers. The process of dressing or redressing the puppets by the puppeteers is called koshirae.

The text and the puppets

Unlike ''kabuki'', which emphasizes solely the performance of the actor, ''bunraku'' simultaneously demonstrates elements of presentation (directly attempting to invoke a certain response) and representation (trying to express the ideas or the feelings of the author). In this way attention is given to both visual and musical aspects of the marionnettes as well as the performance and the text. In this way each part begins in a ceremony where the tayu engages in faithfully interpreting the text, situated behind an ornamated lectern. The text is presented at the debut of each act as well.

The stage

The musician’s stage-Yuka This is the auxiliary stage upon which the gidayu-bushi is performed. It juts out into the audience area at the front right area of the seats. Upon this auxiliary stage there is a special rotating platform. It is here that the chanter and the shamisen player make their appearance, and, when they are finished, it turns once more, bringing them backstage and placing the next performers on the stage.

The partitions (Tesuri) and the pit (Funazoko) In the area between upstage and downstage, the three stage positions, known as "railings" (tesuri). Located in the area area behind the second partition is oftentimes called the pit and it is where the puppeters stand in order to carry out the puppets life like movements.

Small curtain (Komaku) and Screened-off Rooms (Misuuchi) This stage looks at the stage from the angle of the audience, the right side is referred to as the kamite (stage left), while the left side is referred to as the shimote (stage right). The puppets are made to appear and then leave the stage through the small black curtains The blinded screens are just above these small curtains, and they have special blinds made from bamboo so that the audience cannot see inside.

References

The Puppetry Home Page: A Brief Introduction to the History of Bunraku

Bunraku Bay Puppet Troupe

Tonda Traditional Japanese Bunraku Puppets

Bibliography on Chikamatsu

Japan Arts Council Introduction to Bunraku

BUNRAKU KYOKAI

External links

Kiritake Masako's Maiden's Bunraku, article by Darren-Jon Ashmore in the ''electronic journal of contemporary japanese studies'', 17 June 2005.

University of Missouri: Bunraku Puppetry Training Program for Non-Japanese Students

Columbia University: The Barbara Curtis Adachi Bunraku Collection

Category:Bunraku Category:Puppetry * Category:Japanese words and phrases Category:Theatre in Japan Category:Japanese traditional dolls Category:Masterpieces of the Oral and Intangible Heritage of Humanity

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name	Mike Patton
background	solo_singer
birth name	Michael Allan Patton
born	January 27, 1968Eureka, California, U.S.
instrument	Vocals, various electronic instrumentation/programming, sampler, drums, percussions, bass, guitar, keyboards
genre	Various
occupation	Musician, songwriter, actor, producer
years active	1985–present
label	Ipecac, Tzadik, Warner Bros. Records, Slash
associated acts	Faith No More, Mr. Bungle, Fantômas, Tomahawk, Peeping Tom, Lovage, John Zorn, Kaada/Patton, Dillinger Escape Plan, Hemophiliac, Maldoror, General Patton vs. The X-Ecutioners, Rahzel, Zu
notable instruments	}}

Michael Allan "Mike" Patton (born January 27, 1968) is an American singer-songwriter, multi-instrumentalist, producer, and actor, best known as the lead singer of the rock band Faith No More. He has also sung for Mr. Bungle, Tomahawk, Lovage, Fantômas, The Dillinger Escape Plan and Peeping Tom.

Known for his eclectic influences and experimental projects, Patton has earned critical praise for his vocals; which touch on crooning, falsetto, opera, death growls, rapping, screaming, mouth music, beatboxing, and scatting, among other techniques. Critic Greg Prato writes, "Patton could very well be one of the most versatile and talented singers in rock music." While commenting on Patton's extended and diverse music groups, Allmusic called him "a complete and utter musical visionary and a mind-blowing and standard-warping genius."

He has many producer or co-producer credits with artists such as John Zorn, Sepultura, Melvins, Melt-Banana and Kool Keith. He co-founded Ipecac Recordings with Greg Werckman in 1999, and has run the label since.

Biography

Early years

Patton was born and raised in Eureka, California, where he and his friends (including fellow long-time members Trey Spruance and Trevor Dunn) formed Mr. Bungle circa 1984. During the late 80s they recorded the cassette-only demos ''The Raging Wrath of the Easter Bunny'', ''Goddammit I Love America'', ''Bowel of Chiley'' and ''OU818'' (featuring tracks that would appear on their first Warner Brothers album).

Joining Faith No More

Patton joined Faith No More in January 1989 and filled the vocal void left by the recently-fired Chuck Mosley, who moved on to the band Cement.

Faith No More's ''The Real Thing'' was released later the same year. The album reached the top ten on the charts thanks largely to MTV's heavy rotation of the "Epic" music video (which featured Patton in a T-shirt promoting his own band Mr. Bungle).

In the United States, Faith No More would not again match the commercial success of ''The Real Thing''. After three more studio albums (''Angel Dust'', ''King for a Day... Fool for a Lifetime'', and ''Album of the Year'') Faith No More officially disbanded in 1998.

When interviewed about his lyrical content with Faith No More, Patton responded, "I think that too many people think too much about my lyrics. I am more a person who works more with the sound of a word than with its meaning. Often I just choose the words because of the rhythm not because of the meaning".

Mr. Bungle and Beyond

During his time in Faith No More, Patton continued to work with Mr. Bungle. His success in mainstream rock and metal ultimately helped secure Mr. Bungle a record deal with Warner Bros. The band released a self-titled album (produced by John Zorn) in 1991, and the experimental ''Disco Volante'' in 1995. Their final album, ''California'', was released in 1999.

Patton's other projects included two solo albums in the Composer Series on John Zorn's Tzadik label (''Adult Themes for Voice'' in 1996 and ''Pranzo Oltranzista'' in 1997). He is a member of Hemophiliac, in which he performs vocal effects along with John Zorn on saxophone and Ikue Mori on laptop electronics. This group is billed as "improvisational music from the outer reaches of madness". He has also guested on Painkiller and Naked City recordings. He has appeared many times on other Tzadik releases with Zorn and others.

There have been several projects over the years featuring Patton that have not been officially released, although some live bootlegs do circulate. These projects include House of Discipline (with Bob Ostertag and Otomo Yoshihide), Moonraker (with Agata Ichirou of Melt-Banana, Buckethead and DJ Eddie Def), Christian Fennesz and Mike Patton, and Patton & Rahzel. Patton contributed vocals to the Team Sleep song ''Kool-Aid Party'', but the song did not make it onto the final album.

In 2004, Patton worked with Björk and the beat boxer Rahzel on her album, ''Medúlla''.

In 2005, Patton signed on to compose the soundtrack for the independent movie ''Pinion'', marking his debut scoring an American feature-length film. However, this had been held up in production and may be on the shelf permanently. His other film work includes portraying two major characters in the Steve Balderson film ''Firecracker''. He has also expressed his desire to compose for film director David Lynch.

In February 2006, Mike Patton performed an operatic piece, composed by Eyvind Kang, at Teatro di Modena in Italy. Patton sang alongside vocalist Jessika Kinney, and was accompanied by the Modern Brass Ensemble, Bologna Chamber Choir, and Alberto Capelli and Walter Zanetti on electric and acoustic guitars. Patton remarked that it was extremely challenging to project the voice without a microphone.

Patton's ''Peeping Tom'' album was released on May 30, 2006 on his own Ipecac label. The set was pieced together by swapping song files through the mail with collaborators like Norah Jones, Kool Keith and Massive Attack, Odd Nosdam, Jel, Doseone, Bebel Gilberto, Kid Koala, and Dub Trio.

In May 2007 he performed with an orchestra a few concerts in Italy, by the name of Mondo Cane, singing Italian oldies from the 50s and the 60s.

Mike also provided the voices of the monsters in the 2007 film ''I Am Legend'' starring Will Smith.

He is regarded as very hard-working. Faith No More keyboardist Roddy Bottum remarked about Patton "caffeine is the only drug he does", in reference to the Faith No More song "Caffeine" from the album ''Angel Dust'', which Patton wrote while in the middle of a sleep-deprivation experiment. He also worked on the Derrick Scocchera short film "A Perfect Place" for the score/soundtrack, which is longer than the film itself.

In December 2008 along with Melvins, Patton co-curated an edition of the All Tomorrow's Parties Nightmare Before Christmas festival. Patton chose half of the lineup and performed the album ''The Director's Cut'' in its entirety with Fantômas. Patton also appeared as Rikki Kixx in the Adult Swim show ''Metalocalypse'' in a special 2 part episode on August 24.

In 2009 Patton created the soundtrack to the movie ''Crank: High Voltage''. He also performed vocals on the track "Lost Weekend" by The Qemists.

On May 4, 2010 ''Mondo Cane'', where Patton worked live with a 30-piece orchestra, was released by Ipecac Recordings. The album was co-produced and arranged by Daniele Luppi.

"Recorded at a series of European performances including an outdoor concert in a Northern Italian piazza, the CD features traditional Italian pop songs as well as a rendition of Ennio Morricone's 'Deep Down'."

Video game involvement

Patton is known to be an avid video game player. In 2007, he provided the voice of the eponymous force in the video game ''The Darkness'', working alongside Kirk Acevedo, Lauren Ambrose and Dwight Schultz. Record label Ipecac Recordings have confirmed he will reprise the role in The Darkness II in 2011.

He also had a minor role in Valve Corporation's 2007 release ''Portal'' as the voice of the Anger Sphere in the final confrontation with the insane supercomputer, GLaDOS. He has another role in the Valve title ''Left 4 Dead'', voicing the majority of the infected zombies. He also voiced Nathan "Rad" Spencer, the main character in Capcom's 2009 video game ''Bionic Commando'', a sequel of their classic NES title.

Faith No More reunion

In February 2009, Faith No More announced that they were reforming for a tour and possibly new material, first as a footnote on a blurb for Patton's score for ''Crank: High Voltage'' and later as an official announcement on fnm.com. Their first gig on the road again was at the Brixton O2 Academy in London, where 1990's ''Live at the Brixton Academy'' was recorded, on June 10, 2009. They have played as one of three headliners at The Download Festival 2009, in Castle Donington, which was Faith No More's first time at the festival. At the festival they covered "Poker Face" by Lady Gaga with Patton mimicking her vocal style. Bassist Billy Gould has also stated that an American tour is "not out of the question". In June 2009 Faith No More announced that they will be headlining the NME stage at Reading & Leeds festival. On July 4, Faith No More performed a concert together at the Open'er festival in Kosakowo Airport near Gdynia, Poland.

Faith No More also played the large Roskilde Festival near the city of Roskilde, Denmark. Faith No More also performed in Portugal in Optimus Alive'10, where Mike Patton sang one song, "Evidence", completely in Portuguese. They had already played the same song completely in Italian on June 14, 2009, at the Rock in Idro Festival in Milan. 12 August 2009 was the date for FNM's first Turkish live appreance in Istanbul. Faith No More headlined the Australian Soundwave Festival in 2010. On the 27th of August 2009, Faith No More played in the Olympia Theatre in Dublin, Ireland and were supported by local band Adebisi Shank.

On September 1, 2009 Faith No More played at Israel Trade Fairs & Convention Center in Tel Aviv, Israel, supported by Monotonix and Dinosaur Jr. August 2009 Faith No More headlined the Radio 1/NME Stage at both Leeds & Reading Festival where they played the theme tune to popular UK Soap Eastenders as part of their setlist.

Most of the summer shows started with a cover of the song "Reunited" by Peaches & Herb.

Faith No More is still together as of July 2011.

Reactions to fame

Patton has garnered critical praise and has been made a heavy metal icon; however, Patton's reaction to this fame has been unconventional. He has acted irreverently towards the music industry, and expressed his distaste for the infamous lifestyles of rock stars. In a 1995 interview with the San Francisco Chronicle, he stated: "It's hard to see as much as you'd like to with our schedule on the road, but it's harder to do coke and fuck whores every night. Now that's a full time job." His attitude towards popular music is also evident in his songwriting, as Allmusic critic Cammila Albertson writes: "When Patton sings 'Roll it up and smoke it again/Bottoms up and drink it again/ Fix it up and shoot it again/ I can't believe I did it again,' (Mojo by Peeping Tom) he is keenly aware of the way it sounds for such an avant-garde composer as himself to recite perfect rock & roll cliches. His lyrics mock the self-important coolness of the music industry and self parody his own place in it." His contempt for the over-the-top antics of figures in popular music is often cited as the main reason that Patton has always been so guarded about his privacy and personal life. On the other hand, Mike Patton has stated that he enjoyed his time in Faith No More:

Personal life

Patton married Italian artist Titi Zuccatosta in 1994. They separated in 2001. During an appearance on the radio show, LOVELINE (Listen), Patton said that it was a case of two people wanting different things and hinted that his excessive work habits may have been a factor. "It's very hard. It's a daily struggle", he commented in regards to the rigors of juggling a busy music career and a marriage. "It had to happen... Even though we knew each other really well when we got married, it doesn't get easier." He later added, "We're trying this. See what happens. There's still hope." Patton used to own a home in Bologna, Italy (which he sold around the time of the break-up), and speaks fluent Italian. He was interviewed by music journalist Lucas H. Gordon and the answers were given by Patton in Italian.

Patton's right hand is permanently numb from an on-stage incident during his third concert with Faith No More, where he accidentally cut himself on a broken bottle and severed the tendons and nerves in his hand. He can use his hand, but he has no feeling in it (despite his doctor telling him the opposite would happen).

Discography

Filmography

1990 - ''Live at the Brixton Academy, London: You Fat Bastards'' by Faith No More (VHS)

1993 - Video Croissant by Faith No More (VHS)

1993 - Video Macumba - Short film compiled by Mike Patton containing abstract and extreme footage

1998 - Who Cares a Lot: Greatest Videos by Faith No More (VHS)

2002 - ''A Bookshelf on Top of the Sky: 12 Stories About John Zorn''

2004 - The Inner or Deep Part of an Animal or Plant Structure by Björk

2004 - ''Wamego: Making Movies Anywhere'' - Documentary on the making of ''Firecracker''

2005 - ''Firecracker'' - Frank/David

2006 - Live at the Brixton Academy, London: You Fat Bastards/Who Cares a Lot?: The Greatest Videos by Faith No More (double disc DVD compilation of previously released VHS titles)

2007 - ''Kaada/Patton Live'' - Live performance DVD

2007 - ''I Am Legend'' - Creature Vocals (voice) (credited as Michael A. Patton)

2008 - ''A Perfect Place'' - Short film soundtrack by Patton (Released with film as CD/DVD special edition)

2008 - ''Live From London 2006'' - Live DVD release of a performance by the Fantomas Melvins Big Band in London on May 1, 2006

2008 - Metalocalypse'' - Patton voices the character of reformed rocker Rikki Kixx on episodes "Snakes N Barrels II" part one and part two. This special 2 part, half hour presentation aired on The Cartoon Network August 24, 2008.

2009 - ''Crank: High Voltage'' - Film Score

2010 - ''Bunraku'' - Narrator

Video games

2007 - ''The Darkness'' - Voice of The Darkness (Starbreeze Studios)

2007 - ''Portal'' - Voice of the Anger Sphere (Valve Software)

2008 - ''Left 4 Dead'' - Infected voices (Valve Software)

2009 - ''Bionic Commando'' - Voice of Nathan Spencer - the Bionic Commando (Capcom)

2009 - ''Left 4 Dead 2'' - Infected voices (Valve Software)

2011 - ''The Darkness 2'' - Voice of The Darkness (Digital Extremes)

References

Zorn, John, ed. (2000). ''Arcana: Musicians on Music''. New York: Granary Books/Hips Road. ISBN 1-887123-27-X.

Gta Sanandreas - Midlife crisis Tony Hawk - Midlife crisis Thug2 - Midlife crisis

External links

Ipecac Recordings

Music Videos

Category:1968 births Category:Living people Category:American composers Category:American keyboardists Category:American male singers Category:American rock singers Category:American voice actors Category:Beatboxers Category:American experimental musicians Category:Experimental composers Category:Musicians from California Category:Melodica players Category:Faith No More members Category:Mr. Bungle members Category:Scat singers Category:People from Eureka, California Category:Tzadik Records artists

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