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In the Heian period (794-1185), puppeteers known as kugutsumawashi traveled around Japan playing door-to-door for donations. In this form of street entertainment, the puppeteer manipulated two hand puppets on a stage that consisted of a box suspended from his neck. Later dring the sixteenth century, puppeteers were called to Kyoto to perform for the imperial family and military leaders. It was around this time that puppetry was combined with the art of joruri.
With the addition of jouuri, puppetry became more intricate with the use of the biwa. An type of lute. Later, shamisen replaced the biwa as the choice instrument and again the art of puppetry continued to develope. Combing chanting with shamisen grew in popularity in the early seventeenth century in Edo (Tokyo). Many of the plays at this time presented the adventures of Kimpira, a legendary hero renowned for his bold, outlandish exploits. It was in the city of Osaka, however, that the golden age of ningyo joruri was introduced by the talents of two men: tayu (chanter) Takemoto Gidayu (1651-1714) and the playwright Chikamatsu Monzaemon.
Throughout the eighteenth century, bunraku developed in both a competitive and cooperative relationship with kabuki. Gradually becoming eclipsed in popularity by kabuki, from the late 18th century bunraku went into commercial decline and theaters closed one by one until only the Bunraku-za was left. Since World War II, bunraku has had to depend on government support for its survival, although its popularity has been increasing in recent years. Under the care of the Bunraku Association, regular performances are held today at the National Theater in Tokyo and the National Bunraku Theater in Osaka.
