Changes

==History==

==History==

Heavily patronized by the [[Muromachi shogunate]] and [[Imperial Court]], ''kyôgen'' was also later patronized by figures such as [[Toyotomi Hideyoshi]], and by the [[Tokugawa shogunate]]. During the [[Tokugawa period]], the [[Okura school|Ôkura]] and [[Sagi kyogen|Sagi]] schools of ''kyôgen'' were formally recognized by the shogunate, while the [[Izumi school]] enjoyed patronage from significant groups outside of the shogunate. In the [[Meiji period]], however, the final ''[[iemoto]]'' (head) of the Sagi school, [[Sagi Gennojo|Sagi Gennojô]], is said to have failed to properly arrange for his succession, and the Ôkura and Izumi schools remain as the only two officially recognized professional schools of ''kyôgen'' active today. The Sagi school tradition continues, however, among non-recognized performers (i.e. outside of the ''iemoto'' system) based chiefly in [[Yamaguchi City]] and [[Sado-ga-shima]]. Other schools of ''kyôgen'' include the [[Nanto Negi]] school, active chiefly only in the 16th-17th centuries, who were criticized by figures such as [[Okura Toraaki|Ôkura Toraaki]] as "degraded" and "wrong-headed" for their excessively comic, even lewd, approach.<ref>Andrew Tsubaki, "The Performing Arts of Sixteenth-Century Japan: A Prelude to Kabuki," ''Educational Theatre Journal'' 29:3 (1977), 303.</ref>

Heavily patronized by the [[Muromachi shogunate]] and [[Imperial Court]], ''kyôgen'' was also later patronized by figures such as [[Toyotomi Hideyoshi]], and by the [[Tokugawa shogunate]]. During the [[Tokugawa period]], Noh and ''kyôgen'' were considered ''shikigaku'', or official ritual arts of the shogunate. The [[Okura school|Ôkura]] and [[Sagi school|Sagi]] schools of ''kyôgen'' were the only two which served the shogunate in an official capacity, while the [[Izumi school]] survived on patronage from ''daimyô'' and certain other elites outside the shogunate. The Ôkura and Sagi schools also enjoyed patronage outside the shogunate, from figures such as the lords of [[Kaga han|Kaga]], [[Choshu han|Chôshû]], [[Yonezawa han|Yonezawa]], [[Aizu han|Aizu]], and [[Satsuma han|Satsuma domains]]. The Ôkura was generally considered higher status (and incidentally has older written records associated with it), but the Sagi school is said to have been more preferred, or favored, by most shoguns.

 

In the [[Meiji period]], however, the final ''[[iemoto]]'' (head) of the Sagi school, [[Sagi Gennojo|Sagi Gennojô]], is said to have failed to properly arrange for his succession, and the Ôkura and Izumi schools remain as the only two officially recognized professional schools of ''kyôgen'' active today. The Sagi school tradition continues, however, among non-recognized performers (i.e. outside of the ''iemoto'' system) based chiefly in [[Yamaguchi City]] and [[Sado-ga-shima]]. Other schools of ''kyôgen'' include the [[Nanto Negi]] school, active chiefly only in the 16th-17th centuries, who were criticized by figures such as [[Okura Toraaki|Ôkura Toraaki]] as "degraded" and "wrong-headed" for their excessively comic, even lewd, approach.<ref>Andrew Tsubaki, "The Performing Arts of Sixteenth-Century Japan: A Prelude to Kabuki," ''Educational Theatre Journal'' 29:3 (1977), 303.</ref>

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==References==

==References==

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[[Category:Muromachi Period]]

[[Category:Muromachi Period]]

[[Category:Poetry and Theater]]

[[Category:Poetry and Theater]]