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 * Elite Culture for Common Audiences: // Machiiri No //and// Kanjin No //in the City of Edo. **By Gerald Groemer. __AJT.__ Fall 1998. Pps 230-252.

Groemer begins the article with a quick synopsis of the differences between the two types of No; Machiiri No being performed on the castle grounds and while Kanjin No is considered benefit No. In Machiiri No, select people would be invited into the castle grounds after large events such as a birth. Due to huge crowds, there were two showings a day. People would be lined up for hours waiting on the next showing. Machiiri No was only performed in the city of Edo, but its impact stretched beyond the city to the commoner public. Kanjin No is considered one most influential types of No. It was performed all over Japan and attended by all social classes. There are two types of Kajin No, one performed on the temple grounds that had religious tones while others were strictly commercial to bring in profit for the producers or performers. Sometimes there were small stages constructed, while spectators sat on the ground. These performances were shown several times a month and as the popularity grew, tea houses to show the No performances began to spring up around the city. The first Kanjin No performance in Edo was in 1607. This was a much more lavish style of performance which continued to build interest in the theatre. The latter part of the article explains in more detail how the performances might have gone. Since there is little documented about early performances the origins of the Kanjin is unknown. From the records that are available, we know that there were large performances that were funded by both the samuri and the citizens. The plays were not cheap compared to other more popular forms on entertainment, but still brought in a range of individuals. The plays were performed only once and since the crowd was so large, it’s believed that some spectators couldn’t even hear the actors. Both the Kanjin and Machiiri No’s were filled with Buddhist and Confuncian ideas to spread the ideas to the general public. The plays themselves reinforced the ideas of the ruling class and showed the signs of a community. It spread the ideas of the government, but due to the chanting and seating arrangement the commoners might not have gotten the same message that was being given. Groemer uses charts and photos to help explain the ideas presented in his article; however, the charts and diagrams are cryptic and could use some explanation themselves, and the writing is in Japanese. The pictures provided in the back of the article are good to see the costuming and stage layout, but since the article does not refer to the pictures, it makes it difficult for the reader to see how the tie into the No performances in Edo. This article would be most appropriately used for someone who knows more about Japanese history and No as a whole. It is written in with the idea that the reader has an understanding of famous performances as noted in the pictures and in the understanding of the government’s ideas during this time period. Gromer could provide a bit more detail on where this started so that it is clear as to where the article is going. Providing a bit more detail would allow a reader to understand all the depth in these two types of performance.