@article{oai:rekihaku.repo.nii.ac.jp:00001196,
 author = {稲, 雄次 and Ine, Yuji},
 journal = {国立歴史民俗博物館研究報告, Bulletin of the National Museum of Japanese History},
 month = {Mar},
 note = {application/pdf, 江戸時代中期から盛んになった人形芝居は，文楽・人形浄瑠璃として今でも国立文楽劇場（大阪・日本橋）で演じられている。それは集団伝統の伝統芸能として，その伝え継ぐ姿勢がハッキリと確立されているからである。民俗の変容が叫ばれている昨今，人形芝居というものを素材にして，その集団的，組織的な伝承文化と，個人的，非組織的な伝承文化の比較をこころみてみた。
本稿では，いかに個人の伝承が弱いものであり，一過性的なものであるのかを説こうとしているのかが主旨である。
猿倉人形芝居は池田与八が考案した一人遣（ひとりつか）いの人形芝居である。いわば江戸時代で完成された三人遣（さんにんつか）いの人形芝居の文楽から派生したものである。徹底的に文楽と反対の志向を採用した。それは文楽が定住的，歌舞伎的要素をとるのに対して猿倉人形芝居は，巡回・移動，野趣で土俗的方向へと走って行った。その最も決定的な違いが人形操法の「手妻遣（てづまつか）い」であった。この手妻遣いで当時の活動写真（後の映画）と対抗したのであった。この手妻遣いは，手品と同じであり，電光石火（でんこうせっか）のごとく瞬間の早技が勝負であった。そして，次々と新しい技法を開発しなければならなかった。継続的に新しい操法を発明しなければ自然淘汰されてしまう世界であった。猿倉人形芝居は，文楽の集団的，伝統芸能の道ではなく，逆の道を歩んだのである。
創始者である池田与八は猿倉人形芝居の将来を見据えていたのである。早々と隠居して，飴売り屋に転じたのである。猿倉人形芝居を歴史，操法，構成，考察から論じ，一人遣いの人形芝居の伝承文化の個人についた芸ということについて論じたものである。, Puppet theater (ningyo-shibai) that became popular in the middle of the Edo Era is performed today as bunraku and ningyo-joruri (puppet drama) at the National Bunraku Theaters in Osaka's Nipponbashi. The reason for its survival lies in it being a traditional art form passed on from group to group where the approach to its succession had been clearly established. Nowadays, much attention has been given to the transformation of folk customs, comparisons have been made on the subject of puppet theater between organized traditional culture that is organized and formed on a group basis and traditional culture that is not organized and formed on an individual basis.
In this paper I attempt to explain the reasons for the weakness of individual traditions and for their transitory nature.
Sarukura puppet theater was a form of puppet theater following the hitori-tsukai (handled by one man) technique devised by Ikeda Yohachi. It was an offshoot from bunraku puppet theater performed using the sannin-tsukai (handled by three-man) technique perfected during the Edo Era. It possessed an orientation that was completely converse to that of bunraku in the whereas bunraku had permanent and kabuki-like elements, Sarukura puppet theater was a traveling art form and had a rustic element whereby it was more oriented local folk customs. The most decisive difference between the two was the “tezuma-tsukai” technique of puppetry. This “tezuma-tsukai” rivaled the moving pictures of the day, which later developed into movies. This tezuma-tsukai was the same as a conjuring trick and the sleight of hand that was as quick as a flash of lightening was the key to its success or failure. What is more, it became necessary to develop a succession of new tricks. The world in which it existed was such that it would be subject to natural selection unless new trick were continually being devised. Sarukura puppet theater followed a path that was the opposite of the path of bunraku, which was a collective and traditional art form.
Ikeda Yohachi, the originator of Sarukura puppet theatre, did see ahead to what lay in store for his art form. He retired from it early on and turned to selling confectionary. Thus, this paper examines Sarukura puppet theater from the perspectives of its history, puppetry technique and composition, and in so doing discusses it as an art form that was a traditional culture performed by an individual as a type of puppet theater performed using the hitori-tsukai technique.},
 pages = {321--338},
 title = {猿倉人形芝居},
 volume = {109},
 year = {2004},
 yomi = {イネ, ユウジ}
}