Twentieth-century wagei in Tōkyō: stages and urban places

The wagei (verbal performing art) is a traditional Japanese theatrical genre based on a one-man performance held in small theatres known as yose. The purpose of this paper is to examine the role of wagei and yose in the reforms of Japanese theatre that began in the Meiji Period, considering how its repertory has been judged and how it developed throughout the twentieth century. Several intellectuals and performers worked to modernise the theatre, also thanks to the contribution of politicians and businessman. Some actors, like San’yūtei Enchō (1839-1900), played an important linking role between kabuki and wagei, bringing innovations to both repertories. The elements that made the collaborations functional and worthwhile, were based on the shared idea of building a national theatre: the wagei aimed to narrate Japanese values, while kabuki sought to present Japanese theatre to the world. However, it was the first one to have a unique ‘balancing role’, representing the immutable Japanese flavour that allowed kabuki to renew itself. As theatre for mass entertainment, the yose was once situated in every quarter of the larger cities, being part of the urban economic fabric; as an example of the tight relationship between cities and wagei, a section of the article focuses on the history and role of the Honmokutei, the last yose in Tokyo specialising in kōdan.