Akutaro: Unmasking the “Bad Boy” of Japanese Kyogen
When travelers think of traditional Japanese theater, the solemn, masked faces of Noh usually come to mind. However, intertwined with these serious dramas is Kyogen—a comedic form of theater dedicated to the laughter and folly of everyday life. At the heart of this tradition stands a character who embodies the rebellious spirit of youth: Akutaro.
While the name might sound intimidating to the uninitiated, Akutaro is a beloved cultural archetype. For culture enthusiasts and travelers exploring Japan’s performing arts, understanding the story of Akutaro offers a fascinating glimpse into the medieval Japanese sense of humor, redemption, and the human condition.
Origins: What’s in a Name?
To understand Akutaro, one must first dissect his name. In modern Japanese, “Aku” (悪) is typically translated as “evil” or “bad.” However, in the context of medieval folklore and the Muromachi period (when Kyogen was developed), the nuance was different. “Aku” implied strength, roughness, and a deviation from the norm, rather than pure malevolence. “Taro” is a traditional placeholder name for a spirited first-born son.
Therefore, Akutaro is not a villain; he is the “Strong Taro” or the “Rough Boy.” He represents a stock character in Kyogen: the wayward young man who enjoys sake a little too much and resists authority, yet possesses a charm that makes him forgivable. He serves as a foil to the rigid social structures of feudal Japan, acting out the impulses that the audience likely suppressed in their own lives.
The Legend of Akutaro
The most famous narrative surrounding this figure comes from the Kyogen play titled simply, Akutaro.
The Plot
The story centers on Akutaro, a young man notorious for his heavy drinking and rowdy behavior. His uncle, desperate to reform his nephew, convinces Akutaro to go on a religious pilgrimage to the Yahiko Shrine in Echigo Province to pray for a better character. Akutaro agrees, intending to turn over a new leaf.
However, old habits die hard. On his journey, Akutaro meets a companion, and naturally, they begin to drink sake. Akutaro becomes hopelessly intoxicated and falls into a deep stupor right in the middle of the road. While he is passed out, his uncle (or in some variations, a passerby or a trickster deity) shaves off Akutaro’s beard and writes Sanskrit characters on his body, dressing him in the vestments of a monk.
The Awakening
When Akutaro wakes up, hungover and confused, he sees his reflection and believes the deity of the shrine has miraculously transformed him into a Buddha or a holy monk. He begins to chant in a nonsensical, rhythmic fashion. The humor lies in his naive acceptance of this “miracle” and his drunken, stumbling piety. It is a story that pokes fun at false enlightenment and the foolishness of drunkards, yet it ends on a lighthearted note rather than a tragic one.
Akutaro in Modern Culture
While Akutaro is a creature of the medieval stage, his archetype permeates modern Japanese culture. The “lovable delinquent” is a trope found in everything from manga to anime, often drawing spiritual lineage from these early Kyogen characters.
Furthermore, the name appears in various local festivals across Japan. In some regions, “Akutaro” dolls or effigies are used to ward off actual evil spirits, utilizing the “strong” aspect of his name to frighten away bad luck. The character reminds modern audiences that perfection is not a requirement for humanity; flaws are what make us relatable.
Traveler’s Tips: Experiencing Kyogen
If you want to witness the legend of Akutaro or similar Kyogen plays during your trip to Japan, here is how to navigate the experience:
- Where to Go: The best venues are the National Noh Theatre in Tokyo (Sendagaya) and the Kanze Noh Theater in Kyoto. These venues regularly schedule performances that mix Noh (drama) and Kyogen (comedy).
- Language Barriers: Unlike the abstract Noh, Kyogen relies heavily on dialogue. Look for venues offering Earphone Guides. These devices provide real-time English commentary and translations, which are essential for catching the punchlines.
- The Atmosphere: While Noh demands silence, Kyogen invites laughter. Do not be afraid to chuckle if the physical comedy (slapstick) resonates with you. The actors feed off the audience’s energy.
- Timing: Kyogen plays are short, usually lasting 15 to 30 minutes. They act as a palate cleanser between the longer, heavier Noh plays.
Sources & Further Reading
For those wishing to delve deeper into the history of Akutaro and Japanese performing arts, the following texts and collections are recommended:
- The Kaden-sho (Flowering Spirit): While written by Zeami for Noh, it provides the aesthetic foundation for the actor’s craft in the Muromachi period.
- Traditional Kyogen Scripts: English translations of the Izumi and Okura schools of Kyogen often include the play Akutaro.
- Nihon Shoki (Chronicles of Japan): While Akutaro is a medieval creation, studying the Nihon Shoki provides context on the Shinto deities and shrines (like Yahiko) referenced in the plays.
By seeking out Akutaro, travelers engage with a side of Japan that is loud, boisterous, and incredibly human—a perfect counterbalance to the serene temples and quiet gardens usually featured in guidebooks.