@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002119,
 author = {諏訪, 春雄 and SUWA, Haruo},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {11},
 month = {Mar},
 note = {pdf, The account of Takemoto Gidayu's career contained in the Konjakuayatsurinendaiki relates that, following the establishment of the Takemotoza, Tayu's reputation grew steadily while, inversely, the financial fortunes of the theatre itself declined. One reason for the financial problems was the contemporary success of the Kabuki theatre; another was that whereas Gidayu's rivals , Uji Kaganojo, Ito Dewanojo, Yamamoto Kakutayu and oters began drawing audiences with spectacles featuring karakuri (mechanical manipulation of puppets and props), Gidayu disliked karakuri and Takenoto productions remained centered on the vocal performance (katari) of the tayu.
With the huge success of Sonezakishinju in Genroku 16 (1703), Gidayu considered retiring from the stage. The Takemotoza's management, concerned to dissuade Gidayu from retiring, invited Takeda Izumo, younger brother of the second generation head of the Takeda theatre, which was the leader in the use of karakuri", to join Tayu Takemoto Gidayu (then Chikugonojo) and writer Chikamatsu Monzaemon in a three part collective directorship of the Takemotoza.
Under this new arrangement, a mode of performance harmonizing the katari of the Tayu with scenes focused on karakuri puppets was worked out. Specifically, a five part libretto based on the katari was adopted (renbo, shura, shutan, michiyuki ,and denouement), with the Tayu's katari the highlight of the tragic third part, while karakuri were brought in during the second, fourth and fifth parts. Under this arrangment, the critical importance attached to the third part preseved the Tayu's pride, while the visual and auditory richness of the surrounding scenes yielded an integrated spectacle.
The present paper will primarily use pictures from surviving illustrated joruri librettos to study how karakuri were used in contemporary productions, while showing that Takemoto's new directions in performance in the early Hoei era marked an important point of transition in the history of the joruri puppet theatra.},
 pages = {74--86},
 publisher = {国文学研究資料館},
 title = {研究発表　からくりと竹本義太夫　―人形浄瑠璃史の転換点―},
 year = {1988},
 yomi = {スワ, ハルオ}
}