prominent artistic puppet theaters in Europe and became a model for the many non-traditional puppet theater companies that emerged in Japan from the 1920s.Since that time, the notion of puppet design in Japan has clearly changed. Generally speaking, the three elements of theater are the actor, the audience, and the theater space. But in puppet theater, puppets are added to the mix: actor, puppet, audience, and theater space. Since it is one of the four elements, the puppet's design should be emphasized from the start. However, Bunraku has not changed much since the 18th century in terms of the artistic aspects of the puppets, although there have been improvements to make the puppets easier to manipulate so that they can express detailed motions, and improvements to their mechanisms, such as the additions of moving the eyes and eyebrows. It was the interest in puppetry of visual artists, not stage artists, that broke with the conventions of traditional Japanese Bunraku puppetry.In 1923, the first non-traditional puppet show "Aglavaine et Sélysette" was performed in Japan. The script was by Maeterlinck, and the puppets and puppeteering were by Ito Kisaku, who was a Western style painter at the time. He later became the most important stage designer in Japan. One theater magazine praised the productions as a highbrow play. In 1924, famous painters Yoshiro Nagase and Koshiro Onchi formed "Theatre Marionette" and they even toured in Paris with their show, and in 1925, there was “Gekijo no Sanka," an avant-garde performance with puppets by Tomoyoshi Murayama, an important expressionist painter. Incidentally, this is now on display in the temporary exhibition at the nearby Lehnbachhaus. And in 1926 the stage designer Koreya Senda, who studied at the Reinhardt Theater School in Berlin, created and performed puppets modeled after political caricatures by Georg Grosz of Dada Berlin. Thus, with the involvement of artists, Japanese puppet theater broke away from tradition and revitalized itself as an artistic genre that allowed for more diverse expression.Along with Marionettentheater Münchner Künstler, the above-mentioned attempts at new puppet theater in Japan were influenced by "artistic puppetry" known in Japan at the time and throughout the rest of Europe. The emergence of artistic puppetry is not a special case of Munich alone. There was a major European trend that began at the turn of the century, and Japanese modern puppetry was also a response to that ― 526 ―― 526 ―
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