The Love Suicides at Amijima was first performed in 1720 as part of the puppet theatre (Bunkaru). Bunkaru gained popularity in the Edo period (1603-1868) in Osaka and was characterized by the usage of “…one-half life size and each is operated by three performers: a principal operator and two assistants…the puppeteers co-operate to maneuver the… Read more Historical Context of Chikamatsu’s The Love Suicides at Amijima
Imani Barnhill
Final Reflection Post
I think everyone did thorough unessays/essays and I really enjoyed the class content as a whole for the first project. My favorite of the projects, however, was Kayla’s “hypothetical” production of Death and the King’s Horsemen. I don’t know the first thing about play productions but it is evident that she put a lot of… Read more Final Reflection Post
Collab, Chikamatsu 3
Collab, Chikamatsu 2
Collab, Chikamatsu 1
4/26 Daily Question Chikamatsu
“…now that it is cut, I stand up a bonze—a priest who has put the world by and has wife nor child nor treasure. I am O-San’s husband no longer, nor does any duty bind you to her.” Why might Jihei deny the existence of his now ex wife and his children? I think this… Read more 4/26 Daily Question Chikamatsu
4/21 Chikamatsu Act 2 Daily Question
O-san’s mother and brother of Jihei (Magoemon Sama) have arrived and seemed to condemn O-san for her husband’s behavior. The mother says ”…young as you are, you are the mother of two children. It is not enough for you to be merely good-natured. A husband’s evil courses are undoubtedly traceable to a wife’s want of… Read more 4/21 Chikamatsu Act 2 Daily Question
4/21- Breasts and Eggs Relection
Natsuko’s her older sister’s perception is dependent on the perception of others around her: if she’s around younger woman who’s body might not look the same as hers, she might feel insecure about what she looks like. She seems to be uncomfortable with her body—“my sister doesn’t seem to give a toss and waltzes right… Read more 4/21- Breasts and Eggs Relection
4/19- Chikamatsu Act 1 Daily Question
When Tahei speaks of Koharu Sama/Dono he says ”please hasten to make her acquaintance It is not beyond dreaming that she may soon enough become my wife or —who knows?—shortly be ransomed to my rival Jihei” (5) His objectification of Koharu as a woman seems familiar. How might it compare to the treatment of Kieu?