Changes

==Life and Career==

==Life and Career==

Gidayû was originally from the [[Tennoji|Tennôji]] neighborhood of [[Osaka]], performed originally in [[Kyoto]], as apprentice to [[Uji Kaganojo|Uji Kaganojô]]. In [[1684]], he left Kaganojô and Kyoto, returning to Osaka and founding the Takemoto-za theatre. The year after his arrival saw a competition between Gidayû and Kaganojô for audiences in Osaka, as well as number of failed countryside tours, but also marked the beginning of Gidayû's collaborations with Chikamatsu, who he had met in Kyoto. Together, the pair overhauled the traditional elements of ''jôruri'' and reinvented the form, transforming it into the form which would be popular through much of the [[Edo Period|Edo period]], and which it retains today.

Gidayû was originally from the Tennôji neighborhood of [[Osaka]], performed originally in [[Kyoto]], as apprentice to [[Uji Kaganojo|Uji Kaganojô]]. In [[1684]], he left Kaganojô and Kyoto, returning to Osaka and founding the Takemoto-za theatre. The year after his arrival saw a competition between Gidayû and Kaganojô for audiences in Osaka, as well as number of failed countryside tours, but also marked the beginning of Gidayû's collaborations with Chikamatsu, who he had met in Kyoto. Together, the pair overhauled the traditional elements of ''jôruri'' and reinvented the form, transforming it into the form which would be popular through much of the [[Edo Period|Edo period]], and which it retains today.

The ''Chihiroshû'' ("A Collection a Thousand Fathoms Deep"), Gidayû's first work to be published, was produced in 1686, though his most important treatise would come the following year. The ''Jôkyô yonen Gidayû danmonoshû'' ("Collection of Jôruri Scenes of the Fourth Year of [[Jokyo|Jôkyô]]"), like his other works, contained a lengthy preface containing elements of Gidayû's theories and attitudes regarding the theatre and performance. This text would remain a foundational one for ''jôruri'' performers up through the end of the 19th century.

The ''Chihiroshû'' ("A Collection a Thousand Fathoms Deep"), Gidayû's first work to be published, was produced in 1686, though his most important treatise would come the following year. The ''Jôkyô yonen Gidayû danmonoshû'' ("Collection of Jôruri Scenes of the Fourth Year of [[Jokyo|Jôkyô]]"), like his other works, contained a lengthy preface containing elements of Gidayû's theories and attitudes regarding the theatre and performance. This text would remain a foundational one for ''jôruri'' performers up through the end of the 19th century.