1.
Introduction
Manzai, a traditional form of Japanese stand-up comedy performed by a comedic duo, has undergone a remarkable transformation from its historical roots to the modern digital age. Its evolution reflects not only changing tastes in entertainment but also innovative intersections with technology, particularly in human-robot interactions. Mashimo et al. (2016) were at the forefront of this intersection, developing a system where robots could perform manzai using synthesized voices from pre-written scripts, and even autonomously generating scripts from online news articles. Building on this technological integration, Haraguchi et al. (2019) created a system to craft manzai scripts that incorporate celebrities' names, thereby enhancing audience engagement through familiarity.
Delving into the artistry behind manzai, Fujimoto and Kawase (2020) scrutinized the "M-1 Grand Prix"—a renowned annual comedy showcase from 2015 to 2019—analyzing scripts from the top and bottom finalists to distill what makes a script successful in the eyes of spectators. Their research highlighted the audience's preference for a rhythm of quick-witted exchanges of jokes (boke) and retorts (tsukkomi), along with the dynamic introduction of novel topics and scenarios. In a similar vein, Hidaka (2022) examined a vast array of manzai scripts to decode stylistic shifts, revealing a transition towards tsukkomi-centric performances, a trend especially prominent among performers from regions outside the Kansai area, the traditional bastion of manzai. Despite these insights, a systematic analysis comparing the intricate nuances of manzai from the Eastern Kanto region, encompassing Tokyo, to its Western counterpart in the Kansai region, with Osaka at its core, has been lacking.
This study leverages quantitative narrative analysis to bridge this gap, shedding light on the distinctive compositional elements of Eastern and Western Japanese manzai. Our research extends beyond mere comparative analysis; it offers a lens through which to view regional comedic diversities and contributes to the broader discipline of digital humanities. By examining the development and peculiarities of manzai scripts, we aim to unearth deeper cultural narratives and communication patterns, showcasing the potential of digital techniques to enrich our understanding of this enduring form of entertainment. In this study, we employ quantitative narrative analysis methods to elucidate the differences in compositional elements between Eastern and Western Japanese manzai. This research not only contributes to the understanding of regional variations in comedic styles but also holds significance in the field of digital humanities. By analyzing the evolution and characteristics of manzai scripts, we provide insights into cultural narratives and communication styles, demonstrating how digital methodologies can be applied to traditional forms of entertainment for a deeper understanding of cultural dynamics.
2.
Analysis Methodology
2.1.
Overview of the Methodology
Our research unfolded through a series of methodically structured steps:
- Dialogue Extraction: The manzai scripts from the "M-1 Grand Prix" finals, spanning from 2001–2010 and 2015–2021, were meticulously transcribed. These scripts, broadcast on Netflix, served as the foundational data for our analysis.
- Criteria for Script Segmentation: Objectivity and reliability in script segmentation were paramount. To this end, the inter-rater agreement, measured by the Kappa coefficient, was calculated among the research team. This ensured consensus on the segmentation standards utilized in our study.
- Plot Classification Standards: Employing the Kappa coefficient once more, we validated the objectivity of our plot classification. This metric underpinned the development of our classification criteria, providing a structured framework for our analysis.
- N-gram Model Analysis: With the segmentation and classification parameters in place, we dissected the collected manzai scripts. The frequency of N-gram models within these scripts was cataloged, revealing patterns of linguistic structure and flow.
- Transition Probability Calculation: We quantified the transition probabilities of plot elements for both Eastern and Western manzai styles by employing Markov chains, an essential step in understanding the narrative progression within the scripts.
- Network Analysis of Plot Dynamics: The plot transitions of Eastern and Western manzai were then compared through a comprehensive network analysis. This included measures of degree centrality, closeness centrality, betweenness centrality, and PageRank, which elucidated the structural nuances of comedic storytelling.
2.2.
Plot Classification Explained
Our exploration of manzai's narrative structure drew upon the categorizations proposed by Fujimoto and Kawase (2020). Each plot type was meticulously defined to capture the diversity and complexity of manzai:
- Topic and Situation Setting: This involves introducing new topics or expanding upon already established ones.
- Addition of Boke (Jokes): Enriching the script with humor, either by introducing new jokes or building upon previous ones within the established narrative.
- Addition of Tsukkomi (Retorts): Injecting sharp retorts to enhance or counter the boke, thereby driving the comedic dialogue.
- Sudden Boke: These are unexpected comedic elements that diverge from the established narrative flow, introducing an element of surprise.
- Pointing out Boke: Instead of highlighting specific jokes, this involves commenting on the overall comedic performance.
- Tsukkomi on Tsukkomi: A meta-level of comedy, where retorts are directed at previous tsukkomi, adding a layer of complexity to the humor.
- Unexpected Turns: Plot developments that subvert the audience's expectations, often leading to laughter.
- Foreshadowing Resolution: Unraveling previously introduced mysteries or resolving narrative tensions.
- Diversion from the Topic: Temporary departures from the main narrative thread due to various comedic devices.
- Progression: The natural advancement of the comedic dialogue, devoid of new topics or jokes but essential for narrative cohesion.
- Opening: The initial greetings or introductions that set the stage for the manzai performance.
- Closing: The concluding remarks that signal the end of the performance, often involving direct audience acknowledgment.
- Other: Any elements that do not conform to the aforementioned categories but contribute to the manzai tapestry.
3.
Results and Discussion
Our N-gram analysis unearthed a striking similarity between Eastern and Western manzai: both styles heavily rely on the dynamic interplay of tsukkomi (retorts), the strategic setting of topics and situations, and the insertion of boke (jokes). A notable pattern emerged from the data, showing a frequent occurrence of boke additions and topic settings across both comedic traditions. Network analysis, visualized in Figure 1, further delineated this trend, revealing a more intricate web of plot transitions within Eastern manzai compared to its Western counterpart. Specifically, Eastern manzai exhibited higher degrees of centrality, as evidenced by the in-degree centrality values of 1.000, 0.909, and 0.727, in contrast to Western manzai's 0.909, 0.818, and 0.727. These metrics, detailed in Table 1, reflect the complexity of narrative construction in Eastern manzai scripts.
The sequential frequency of plot elements underscores the structural foundation common to both manzai forms—tsukkomi additions, topic settings, and boke insertions. However, the nuanced differences become apparent when considering the detailed situational setups prevalent in Eastern manzai, as opposed to the brisk, punchline-focused nature of Western manzai. The network's density and transitivity lend credence to a diverse array of styles within Eastern manzai, suggesting a multifaceted approach to humor that prioritizes elaborate setups and layered conversations. In contrast, Western manzai seems to favor a more straightforward, rapid delivery of humor, focusing on direct interplay and the comic's responsiveness to their partner.
Figure 1: Comparative Network Visualizations of Manzai Performances
(Left) 40 Duos from Eastern Japan (Right) 38 Duos from Western Japan
Table 1: Comparative Results of Network Centrality Measures
(Left) 40 Duos from Eastern Japan (Right) 38 Duos from Western Japan
The frequency of plots indicates that the manzai of both regions is largely structured by the addition of tsukkomi, the setting of topics and situations, and the addition of boke. Observing the frequency of consecutive plots, it is considered that Eastern manzai involves detailed setting of situations, whereas Western manzai features a more rapid-fire style of comedy. Additionally, in terms of density and transitivity, Eastern manzai presents a more complex network, suggesting a variety of comedic styles. Moreover, from the perspective of network centrality, it is contemplated that Eastern manzai places importance on explanations that organize complex conversations, while Western manzai emphasizes pointing out to the partner's remarks.
4.
Conclusion
This investigation into the fabric of Eastern and Western manzai has uncovered distinct compositional differences between the two. Eastern manzai scripts are characterized by their complexity and a narrative style that favors layered explanations, perhaps reflective of the region's preference for intricate storytelling. Western manzai, in contrast, seems to embrace a simpler, more direct form of comedy, eschewing elaborate setups for quick-witted exchanges. These findings not only enhance our comprehension of regional comedic distinctions but also shed light on the cultural intricacies that define humor within the context of Japanese manzai.
