Manzai

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A pair of manzai performers at a New Year celebration; the tsukkomi at front, the boke behind him (artist unknown, 19th-century Japanese painting) Manzai by unknown artist - wittig collection.jpg
A pair of manzai performers at a New Year celebration; the tsukkomi at front, the boke behind him (artist unknown, 19th-century Japanese painting)

Manzai ( 漫才 ) is a traditional style in Japanese culture comparable to double act comedy [1] or stand-up comedy. [2]

Contents

Manzai usually involves two performers (manzaishi)—a straight man ( tsukkomi ) and a funny man ( boke )—trading jokes at great speed. Most of the jokes revolve around mutual misunderstandings, double-talk, puns and other verbal gags.

In recent times, manzai has often been associated with the Osaka region, and manzai comedians often speak in the Kansai dialect during their acts.

In 1933, Yoshimoto Kogyo, a large entertainment conglomerate based in Osaka, introduced Osaka-style manzai to Tokyo audiences, and coined the term "漫才" (one of several ways of writing the word manzai in Japanese; see § Etymology below). In 2015, Matayoshi Naoki's manzai novel, Spark (火花) won the Akutagawa Prize. [3] A mini-series adaptation was released on Netflix in 2016.

History

Originally based around a festival to welcome the New Year, manzai traces its origins back to the Heian period. The two manzai performers came with messages from the gods and this was worked into a standup routine, with one performer showing some sort of opposition to the word of the other. This pattern still exists in the roles of the boke and the tsukkomi.

Print depicting two manzai comedic actors, also in a New Year setting; c. 1825 Manzai.jpg
Print depicting two manzai comedic actors, also in a New Year setting; c. 1825

Continuing into the Edo period, the style focused increasingly on the humor aspects of stand-up, and various regions of Japan developed their own unique styles of manzai, such as Owari manzai (尾張万歳), Mikawa manzai (三河万歳), and Yamato manzai (大和万歳). With the arrival of the Meiji Period, Osaka manzai (大阪万才) began changes that would see it surpass in popularity the styles of the former period, although at the time rakugo was still considered the more popular form of entertainment.

With the end of the Taishō period, Yoshimoto Kōgyō—which itself was founded at the beginning of the era, in 1912—introduced a new style of manzai lacking much of the celebration that had accompanied it in the past. This new style proved successful and spread all over Japan, including Tokyo. Riding on the waves of new communication technology, manzai quickly spread through the mediums of stage, radio, and eventually, television, and video games. [4] [5] [6] [7] [8]

Etymology

The kanji for manzai have been written in various ways throughout the ages. It was originally written as (萬歳, lit. ten thousand years or banzai, meaning something like "long life"), using rather than the alternative form of the character, , and the simpler form for (which also can be used to write a word meaning 'talent, ability'). The arrival of Osaka manzai brought another character change, this time changing the first character to .

Boke and tsukkomi

Similar in execution to the concepts of "funny man" and "straight man" in double act comedy (e.g. Abbott and Costello), these roles are a very important characteristic of manzai. Boke (ボケ) comes from the verb bokeru (惚ける/呆ける) which carries the meaning of "senility" or "air headed-ness" and is reflected in the boke's tendency for misinterpretation and forgetfulness. The word tsukkomi (突っ込み) refers to the role the second comedian plays in "butting in" and correcting the boke's errors. In performances it is common for the tsukkomi to berate the boke and hit them on the head with a swift smack; one traditional manzai prop often used for this purpose is a pleated paper fan called a harisen (張り扇). [9] Another traditional manzai prop is a small drum, usually carried (and used) by the boke. A Japanese bamboo and paper umbrella is another common prop. These props are usually used only during non-serious Manzai routines as traditional Manzai requires there to be no props in terms of routine and in competitions. The use of props would put the comedy act closer to a conte rather than manzai.

The tradition of tsukkomi and boke is often used in other Japanese comedy, although it may not be as obviously portrayed as it usually is in manzai.[ citation needed ]

Notable manzai acts

See also

Related Research Articles

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Ryota Yamasato, also known as Yama-chan (山ちゃん), is a Japanese comedian and television and radio personality. He rose to fame in the 2000s as one half of the manzai comedy duo The Nankai Candies. Outside Japan he is best known as one of the commentators on the reality television series Terrace House.

Shimofuri Myojo is a Japanese comedy duo (kombi) consisting of Seiya (せいや) and Soshina (粗品). They are employed by Yoshimoto Kogyo, and are mainly active in Tokyo and Osaka. Although they did not attend Yoshimoto NSC, their debut coincides with the 33rd generation class from Osaka. They are the winners of the 14th M-1 Grand Prix in 2018.

References

  1. Blair, Gavin (2016). "What's Manzai?". Highlighting Japan June 2017. Public Relations Office of the Government of Japan. Retrieved 4 November 2019.
  2. Nussbaum, Louis-Frédéric. (2005). "Manzai" in Japan Encyclopedia, p. 608.
  3. Kyodo, Jiji (17 July 2015). "Comedian Matayoshi's literary win offers hope for sagging publishing industry". Japan Times. Archived from the original on 27 August 2015.
  4. Hiragana lesson through Japanese culture – manzai
  5. Manzai (Double-act comedy)
  6. Japanese yose theater – Japanese comedy shows Archived 3 November 2007 at the Wayback Machine
  7. Corkill, Edan, "Yoshimoto Kogyo play reveals manzai's U.S. roots", Japan Times , 25 May 2012, p. 13
  8. Ashcraft, Brian, "Ni no Kuni’s Funny Bone Has Quite the History", Kotaku , 5 October 2011
  9. WWWJDIC Archived 3 January 2015 at the Wayback Machine