The Lone Flower Blooming at the Seat of Laughter: Harufutei Yanagibashi and the Lights and Fades of the Postwar Rakugo World (1945-1960s)

The Lone Flower Blooming at the Seat of Laughter: Harufutei Yanagibashi and the Lights and Fades of the Postwar Rakugo World (1945-1960s)

Harufutei Yanagibashi was the flower of the rakugo world from the Meiji era through the Showa era. He took the name Koyanagishi at a young age and was loved by prominent figures in the political and financial worlds. He always remained at the center of the stage, including the feat of appearing at the same time at Yose, known as the "Sangen-baru" (three-room spring). His style was characterized by his adaptations of rakugo stories, such as "Shina Sobaya" and "Yume Kin," and he gained popularity by placing priority on laughter and the common people.

On the other hand, Bunraku Katsura, Shinsou Kokontei, Kosan Yanagiya, and others inherited the techniques and spirit of the classics and followed a different artistic path from that of Yanagibashi. In the postwar world of rakugo, Yanagibashi, together with Yanagiya Kintaro, launched the "Art Association" and came into conflict with the existing "Rakugo Association. With the advent of the broadcasting era, the exclusive system once again separated the comedians.

NHK relied on freelance performer Yanagihashi, while TBS made Bunraku, Ensei, and Kosan its exclusive performers. Shisei signed a contract with Nippon Broadcasting System, and an era began in which rakugo artists were also evaluated on their aptitude for broadcasting. In his later years, Yanagibashi remained on the stage, but his shadow gradually faded as he handed over his work to younger performers. However, his life was a symbol of the postwar history of the entertainment industry, as he took pride in his popular art and made the seat of laughter bloom with a solitary flower.