Rakugo introduces the storytelling genre of Edo-style rakugo as performed around the turn of the twenty-first century, focusing on the performers' image, training, and techniques and the art's contexts and audiences. Brau argues that, while storytellers' goal of making a hit with audiences sustains the art's vitality, rakugo has come to represent something more than simply popular entertainment: it is also regarded as the cultural heritage to which some Japanese may turn in a nostalgic search for identity.

An introduction to the theatrical art of comic storytelling that originated in the Edo period, Rakugo sheds light on Japanese culture as a whole: its aesthetics, social relations, and learning styles. Enriched with personal anecdotes, Rakugo explicates the art's contemporary performance culture: the image, training and techniques of the storytellers, the venues where they perform, and the role of the audience in sustaining the art. Laurie Brau inquires into how this comic art form participates in the discourse of heritage, serving as a symbol of the Edo culture, while continuing to appeal to Japanese today. Written in an accessible manner, this book is appropriate for all levels of student or researcher.

Rakugo is the traditional Japanese art of storytelling. The stories are also called rakugo, or hanashi, and they are performed by professional narrators called rakugoka or hanashika. The customary place where rakugo stories are told is the vaudeville-type variety called the yose. This book is divided into three parts, including nine chapters and an epilogue, and also includes notes, three appendices, a bibliography, glossary, and index.

Rakugo is the traditional Japanese art of storytelling. The stories are also called rakugo, or hanashi, and they are performed by professional narrators called rakugoka or hanashika. The customary place where rakugo stories are told is the vaudeville-type variety called the yose.

Rakugo, a popular form of comic storytelling, has played a major role in Japanese culture and society. Developed during the Edo (1600–1868) and Meiji (1868–1912) periods, it is still popular today, with many contemporary Japanese comedians having originally trained as rakugo artists. Rakugo is divided into two distinct strands, the Tokyo tradition and the Osaka tradition, with the latter having previously been largely overlooked. This pioneering study of the Kamigata (Osaka) rakugo tradition presents the first complete English translation of five classic rakugo stories, and offers a history of comic storytelling in Kamigata (modern Kansai, Kinki) from the seventeenth century to the present day. Considering the art in terms of gender, literature, performance, and society, this volume grounds Kamigata rakugo in its distinct cultural context and sheds light on the 'other' rakugo for students and scholars of Japanese culture and history.

Born out of the editor's inability to find a suitable book for teaching the subject, this is a welcome title. . . . a fine contribution in a field where works in English are seriously lacking. Choice The Handbook of Japanese Popular Culture provides a convenient and efficient guide to the prevalent ways of life, recreations, and artistic creations of contemporary Japan. Designed for the general reader as well as the specialist in Japanese culture. The areas explored are those that have proven to be of durable interest to the Japanese, such as sports, science fiction, and popular music, as well as passing fads and fancies. The extremely readable essays, contributed by specialists in the field, provide a wealth of interesting information, including a survey of the historical development of the topic under discussion, with special attention paid to the most useful published works in the field, followed by a guide to the research collections and reference works that should be consulted by those wishing to deepen their knowledge of the subject. Exploring the most salient aspects of Japanese popular culture, the chapters include such topics as popular architecture, new religions, popular performing arts, film, television, comics, and mystery literature. The editor's introduction suggests that the study of popular culture as a discipline with its own unique subject matter and methodology represents a form of protest against the concept of culture as a selective tradition consisting of the best that has been thought and said. This comprehensive survey of Japanese popular culture will be an essential additon to all libraries and a useful resource in the study of popular culture, sociology, Japanese history and culture, humanities, communications, and journalism.