Gīkyū

**Gīkyū** [牆唱; ぎいきゅう] is a form of traditional Kantonese comic theatre. It developed alongside jūkyū, with both stemming from the earlier art of hongyū. Despite being full of movement and sometimes including backing instruments, gīkyū is a stark contrast to the formal, symbolic jūkyū; it is a comic act, and its primary goal is to make its audience laugh.

Gīkyū sketches are invariably brief - often about ten minutes in length - and contain only two or three roles, which are often recognisable archetypes or stock characters. Notable types include the *hanari tōbun* (muddled/stupid servant), the *gungi* (master) and the *gunnai* (master's wife). Movements and dialogue are typically very exaggerated, making the action of the sketch easy to follow and understand. Elements of slapstick or satire are present in most gīkyū performances.

Like jūkyū, all gīkyū actors are male, including those in female roles. Female roles are indicated by a particular hairpiece, the *anemaki*, which is decorated with many feminine accessories such as bejewelled hairpins, bells and combs.

## Elements

### Language

The language used in gīkyū depends on the period, but much of the classic writing is in Middle Kantonese, reasonably equivalent to Shakespearean English. The language is largely understandable in at least a core sense to contemporary Kantonese speakers, but sounds archaic, with pervasive use of the -kiren (きれん) form rather than the various copulas used now. For example, when acknowledging a command, Hanari Tōbun often replies with the phrase *kaetō-kiren* ("right away, sir!"), which in modern Kantonese would be *jitō-da*.

Furthermore, many of the words and nuances cannot be understood by modern audiences (without notes), as in Shakespeare. This contrasts with jūkyū, where the language is more difficult and generally unintelligible to modern ears.

There are numerous stock phrases and associated gestures - such as *kaetō-kiren* (performed with a bow and a clap of the hands) and the phrase *habaku no ki kikiren* spoken by the gunne with a tap of the chin for each enunciation of *ki* - which rarely change from performance to performance. Actors also tip their heads in certain directions to indicate their inner feelings - downwards for guilt or shame, up for certainty and surety, left for excitement or agreement and right for worry or doubt. Many gīkyū sketches end with the *hanari tōbun* character running off-stage waving his hands, declaring that he finds his lord's commands too difficult to understand.

Lines are delivered in a rhythmic, sing-song tone, and generally quite loudly. Pace, pitch, and volume are all varied for emphasis and effect.

### Movements

As with jūkyū, which is performed on the same stage, actors move sharply and quickly as though following their own internal rhythm. The key to a successful, well-paced play is ensuring that all the actors are moving on the same rhythm, yet showing it in different ways to suit their character. When walking, a straight spine is essential, and no part of the body should be moving out of pace with the rest. Gīkyū sketches sometimes turn these rules on their head to great effect, with actors moving erratically, hunching over, and generally behaving poorly for comedic effect.

Gīkyū also makes frequent use of laughter cues, or *emigai*, to spur the audience into vocal response. These usually take the form of either a large bell which is rung off-stage, or the turning of all actors' faces towards the audience in a sudden fashion with eyebrows raised - the former is more common. The cue is initiated just after a joke or comedic scenario has ended, encouraging the viewer to laugh and also signalling the end of a certain scene and the start of a new one.

## Plays

There are a few hundred plays considered to be pure gīkyū, but many are now rarely performed, as the audience will not understand the jokes, or would deem them offensive (e.g. a certain sketch concerning a blind money-lender).

Plays commonly studied and performed by beginners, due to brevity and simplicity, include:

* *Guchiwana* (口罠, The Mimic), in which the servant is cursed and begins to repeat everything which his masters tells him, leading to chaos,
* *Kenokin* (元の奇, A Handful of Sugar), in which two servants are entrusted with a precious bag of sugar, and end up losing it,
* *Chigobi-nin* (莓にん, Lady Strawberry), in which the servants are told to prepare the house for a visit by Lady Strawberry, and
* *Gokkatsu* (ごっかつ, Cramps), in which all the characters begin behaving strangely and inappropriately.