Rakugo: performing comedy and cultural heritage in contemporary Tokyo
Rakugo introduces the storytelling genre of Edo-style rakugo as performed around the turn of the twenty-first century, focusing on the performers' image, training, and techniques and the art's contexts and audiences. Brau argues that, while storytellers' goal of making a hit with audiences sustains the art's vitality, rakugo has come to represent something more than simply popular entertainment: it is also regarded as the cultural heritage to which some Japanese may turn in a nostalgic search for identity.
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Rakugo in Traditional and Alternative Performance Contexts
Making a Hit with Classical Rakugo
Rakugo Audiences and Fans
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artistic family Asakusa audience backstage Buncho Bunraku called characters cherry blossom viewing classical rakugo comic storytelling contemporary create cultural heritage cultural property deshi disciple drum Edo period edokko Encho EngeijO Engiku entertainment expression futatsume gakuya geinin Gendai rakugo ron genre hanami hanashika Hayashiya humor Interview with author iromono Japan Japanese jokes joseki Kabuki Kamigata Katsura Kenkyukai KikubO kimono Kokontei Koriyama Kosan koten rakugo landlord laugh laughter live makura mance Meiji period Morioka Morioka and Sasaki neta ochi ochiken otaku patrons performing arts play pleasure quarters Popular Narrative Art professional rakugo fans Rakugo Kyokai Rakugo no sekai rakugo performance rakugo stories rakugo world rakugoka recitals repertoire samurai San'yutei shamisen shin'uchi Shiraku shisho ShobO Shocho Shunputei social stage storytellers style Suehirotei Suzumoto tapes tatami Tatekawa Danshi television tenants tenugui Teruoka theatre Tokyo traditional Tsubame tsukiban venues Wagei women Yanagiya yoisho yose zabuton zenza