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257:(Place where the Taiheiki is recited) at the end of the 17th century, as well as being known to perform for Tokugawa Ieyasu. Another important Kōdan storyteller was Fukai Shidōken, who lived during the early 18th century. Fukai’s style of Kōdan was more comedic and ironic, which contrasted to other contemporaneous practitioners who were more serious.
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of the Edo period prided themselves on their knowledge of history and told stories both contemporary and historical. They memorized not the precise words and phrases of a story, but the details of the events themselves, which could then be formed into a story, somewhat different each time it is told.
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or other chronicles and tales. It was at this time that the form expanded to include not just the classic standard chronicles but general historical events as well, which were not codified into a set written form. Where readers of the Heian period read directly from classical texts,
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Soon the stories began to center not around samurai and nobles, but around townsfolk, thieves, and vigilantes; the storytellers adapted to their own tastes, their own knowledge, and that of their audience, which was increasingly townsfolk and not nobility.
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in a room) and were performed in the homes of Daimyō. Instead of the traditional
Buddhist or Shinto texts, the works read in this period were the war stories of the 12th century such as the
284:(1868), which, being a quite major event, supplied the performers with much new material. At one point, there were fifty performance halls in Tokyo devoted primarily or exclusively to
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in the early 20th century, the art form contributed heavily to various forms of
Japanese theater and to the development in Japan of the modern popular fiction novel.
210:(1333–1568), the form was adopted or revived by the general samurai class for educational purposes. Performances during this time were called
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or a fan to mark the rhythm of the recitation. The original kōdan performances were recitations of
Buddhist scriptures or
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353:"JAPANESE STORYTELLING: A VIEW ON THE ART OF "KŌDAN". THE PERFORMANCES AND THE EXPERIENCE OF A WOMAN STORYTELLER"
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in 1600, the form had developed even further and spread to become even more commonplace. Masterless samurai (
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138:. The form evolved out of lectures on historical or literary topics given to high-ranking nobles of the
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Not many notable practitioners are known, but an important one was
Amakasu Hōin. Amakasu founded the
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and only a very few performers between them. The three traditional classifications of kōdan are
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adopted. Today, after a failed attempt to revive the art in 1974, there are four schools of
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Though the arrival of movies, records, and other forms of entertainment eclipsed
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In 1700, a man by the name of Nawa
Seizaemon opened the Taiheiki-ba in the
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Kōdan is usually performed sitting behind a desk or lectern, and using
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remained strong for many years, and gained a new popularity after the
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class and eventually by commoners, and eventually, by the end of the
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325:Kodansha Encyclopedia of Japan
322:Nagai, Hiroo (1985). "kōdan."
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357:Rivista degli studi orientali
351:Mastrangelo, Matilde (1995).
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255:Taiheikiba
247:kōshakushi
232:Edo period
180:; meaning
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330:Kodansha
303:See also
242:Taiheiki
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178:Sewamono
133:Japanese
262:Akasaka
216:Kōshaku
158:kōshaku
144:samurai
126:kōshaku
84:scholar
59:"Kōdan"
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170:Gundan
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373:JSTOR
297:kōdan
286:kōdan
278:Kōdan
270:Tokyo
268:(now
237:rōnin
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162:kōdan
129:(講釈))
113:Kōdan
91:JSTOR
77:books
365:ISSN
332:Ltd.
310:Yose
63:news
266:Edo
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