The Japanese of the Edo Period (1603 to 1868) were so impressed by the performances of these miniature actors that their human counterparts tried to imitate their movements. The Japanese love for automata can be traced back centuries. The first Japanese automatons were created during the Edo Period which was roughly 1603 to 1868.

These automatons were called ‘karakuri ningyo’ (roughly translated as ‘mechanical doll’). Japanese ‘karakuri ningyo’ were composed of wood, string, and cogs. The Japanese also adopted Western clockwork technology for these automata. The most common were the ‘zashiki karakuri’, small household robots that provided entertainment. Like serving tea. Recalling Philon’s mechanism for the maid servant robot, the karakuri was activated by placing a teacup in its hands.

Automatons are an important and vital part of the story of how we reached 'Cinematography' in the late 19th century.

Automatons are story-telling in motion.

And, the actors don’t forget their lines or think they’re bigger than their fans.

The Japanese of the Edo Period (1603 to 1868) were so impressed by the performances of these miniature actors that their human counterparts tried to imitate their movements, rather than the other way around.

SEE the ‘karakuri ningyo’ (at the :25 second mark) in action up close along with a myriad of other automatons, at the Museum of Automata in York England here.
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JAPANESE PUPPET THEATRE
Along with the ‘karakuri ningyo’, is the Karakuri Japanese Puppet Theatre, a creative fusion of mechanics, wizardry (aka Méliès), surprise, scenario, illusion, and puppetry. The word 'Karakuri' means to tease or trick and can imply hidden magic, or an element of mystery. No different than films. Clockmaker Takeda Omi opened a theatre for the exhibition of ‘Karakuri’ in Osaka Japan. A theatre for mechanical toys and automata in the ‘Karakuri Ningyō’ tradition.

The Takeda Omi family became a virtual Japanese Puppet Theatre dynasty, carrying on this cinema style art for more than one hundred years and five generations. ‘Karakuri Zui’ (later subtitled An Eighteenth-Century Japanese Manual of Automatic Mechanical Devices) published in 1797 explains in far greater detail the history of Karakuri during the Edo period (1603-1868).

The Karakuri repertoire is illustrated in a 3-volume set we have been unable to locate yet, called ‘Karakuri Kimmo Kagamigusa’ published in 1730. Up to 30 illustrations apparently show the puppets to move by gear wheels or clockwork cogs. An acrobatic doll called the ‘tumbling man’ who falls head first down a staircase is one example that Japanese audiences flocked to see in the late 17th century. That, and the Princess ‘Jamateru’ who became a mermaid before your eyes.

Many Karakuri Automaton, c. 1800, are housed in the British Museum.

So popular were the Karakuri Japanese Puppet Theatres of Takeda Omi that it’s documented that so many people thronged his theatre that it had to be closed for days at a time. When reading about the immense popularity of these highly anticipated motion entertainment shows, I immediately thought of both ‘Gone with the Wind’ in 1939, and ‘Star Wars’ in 1977. By 1758 the Karakuri Japanese Puppet Theatre in Osaka performed 25 shows a day.

They began at 8am.

In less than 20 years however (1772) Karakuri had peaked. The last of the theatres had closed and a pre cinematic ritual which had thrived for over 100 years, had expired. -30-

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