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Traditional Japanese style of comedy

([[wikt:漫才) is a traditional style of comedy in Japanese culture comparable to double act comedy. usually involves two performers —a straight man and a funny man —trading jokes at great speed. Most of the jokes revolve around mutual misunderstandings, double talk, puns and other verbal gags. In recent times, has often been associated with the Osaka region, and comedians often speak in the Kansai dialect during their acts. In 1933, Yoshimoto Kogyo, a large entertainment conglomerate based in Osaka, introduced Osaka style to Tokyo audiences and coined the term "漫才" (one of several ways of writing the word in Japanese; see below). In 2015, Matayoshi Naoki's manzai novel, Spark (Matayoshi novel) (Spark), won the Akutagawa Prize. A mini series adaptation was released on Netflix in 2016.

Originally based around a festival to welcome the New Year, traces its origins back to the Heian period. The two performers came with messages from the kami and this was worked into a standup routine, with one performer showing some sort of opposition to the word of the other. This pattern still exists in the roles of the and the
Continuing into the Edo period, the style focused increasingly on the humor aspects of stand up, and various regions of Japan developed their own unique styles of , such as (尾張万歳), (三河万歳), and (大和万歳). With the arrival of the Meiji period, (大阪万才) began to implement changes that would see it surpass in popularity the styles of the former period, although at the time was still considered the more popular form of entertainment. With the end of the Taishō period, Yoshimoto Kōgyō—which itself was founded at the beginning of the era, in 1912—introduced a new style of lacking much of the celebration that had accompanied it in the past. This new style proved successful and spread all over Japan, including Tokyo. Riding on the waves of new communication technology, quickly spread through the mediums of stage, radio, and eventually, television, and video games.

The kanji for have been written in various ways throughout the ages. It was originally written as , using 萬 rather than the alternative form of the character, 万, and the simpler form 才 for 歳 (which also can be used to write a word meaning "talent, ability"). The arrival of brought another character change, this time changing the first character to 漫.

Similar in execution to the concepts of "funny man" and "straight man" in double act comedy (e. g. Abbott and Costello), these roles are a very important characteristic of (ボケ) comes from the verb (惚ける/呆ける) which carries the meaning of "senility" or "air headed ness" and is reflected in the 's tendency for misinterpretation and forgetfulness. The word (突っ込み) refers to the role the second comedian plays in "butting in" and correcting the 's errors. In performances it is common for the to berate the and hit them on the head with a swift smack; one traditional prop often used for this purpose is a pleated paper fan called a (張り扇). Another traditional prop is a small drum, usually carried (and used) by the A Japanese bamboo and paper umbrella is another common prop. These props are usually used only during non serious routines as traditional requires there to be no props in terms of routine and in competitions. The use of props would put the comedy act closer to a conte rather than manzai. The tradition of and is often used in other Japanese comedy, although it may not be as obviously portrayed as it usually is in .

Kikaku wrote with affectionate mockery a haiku on the dancers: "The New Year Dancers / Never miss a single gate – / Millet for the crane". Buson more positively wrote: "Yes, New Year's dancers – / Pounding good and properly, / The dirt in Kyoto".