In Japan, there is a narrative art that emerged from Buddhist sermons and evolved into a beloved storytelling performance. It is called rakugo. There are two rakugo traditions (Edo and Kamigata) that were developed in the cities of Edo, Kyoto, and Osaka. At first glance, they ap-pear to be the same or very similar. In both traditions, storytellers wear kimonos on stage; they sit on a mat while telling funny stories; imitate different objects with a fan and a handkerchief. Although both traditions share many similarities, their differences distinguish one another. The present thesis shows that Edo and Kamigata traditions are, in fact, different. The historical re-view will show that despite the same origin, Edo and Kamigata storytellers developed their art in different urban environments that left a footprint on it to date; it also presents the leading figures that participated in the development and popularisation of the art. Due to the different proximity to the capital and power of the shōgun, Edo and Kamigata storytellers shared varying levels of freedom that influenced rakugo in the Edo period. The Meiji restoration marked a new stage for Japan and rakugo, which was performed and recognised as an essential part of modern Japanese art. The comparative analyses reveal the differences in the plots, dialects, and ways of conduct-ing the performance. The results give a deeper understanding of rakugo in the Edo and Kamigata regions.
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