As a novice in watching Kabuki, I find it amazing how particular rolls are passed down family lines. As well as the particular interpretation of those rolls. How hard is it to break with such a tradition, for an actor to change or update a family style? As usual, K. I. B. keeps fans outside of Japan informed on the latest Kabuki news!
It is a fascinating aspect of kabuki indeed! Actors first must learn and follow the acting traditions (kata) of their predecessors, but after playing a role successfully several times, they are often expected to add their own touches and create their unique version of the role. That said, during the last century, it has become increasingly rare for actors to make big changes to the traditions for important roles, and some kata have remained essentially the same since the late XIX century. It must be really difficult to balance tradition and innovation for the actors, but in the case of the high-ranking actors, technically they have full control of the roles belonging to their house, and they could change them in any way they want. They just generally chose not to.
As someone who has watched several Kabuki plays, the Kamigata style is always interesting to observe and watch, mainly due to the gentler, sensitive and human tone of Kamigata Kabuki (or Wagoto style) in contrast to the more heroic, raw and superhuman tone of Edo Kabuki (or Aragoto style). By the way, about Kamigata's Kabuki, there are some things that intrigue me: 1. Aside from the Matsushimaya acting house, what other Kabuki acting houses are known for their Kamigata style? 2. We know that Kataoka Ainosuke started out as Onnagata, then evolved into Wagotoshi (Nimaime) and currently he is the main Aragotoshi outside of Tokyo. One thing I've always wondered about is: if most of the tachiyaku actors that are part of the Matsushimaya house are Wagotoshi (mainly Kataoka Nizaemon XV), how Kataoka Ainosuke VI, Kataoka Gatō V (Ainosuke VI's uncle) and Kataoka Nizaemon XIII (Gatō V's father and Ainosuke VI's grandfather) managed to learn about the Aragoto style? I know that Ainosuke VI possibly learned about the aragoto style from his uncle Gatō V and Gatō V learned it from his father Nizaemon XIII. But what about Nizaemon XIII? Who taught him about the Aragoto style? 3. We know that the "founder" of Kamigata's Kabuki is the original Sakata Tōjūrō. And we know that Nakamura Ganjirō IV, being the eldest son of Sakata Tōjūrō IV, is the one who will possibly become Sakata Tōjūrō V in the future. In your opinion, is the possible future name of Nakamura Ganjirō IV really Sakata Tōjūrō V or is there some other prestigious name that he could possibly adopt in the future?
1. Just the Matsushimaya and the Ganjirō line from the Narikomaya. In the recent past there was a third one, the Kawachiya, home to the Enjaku line of actor, but with the death without heirs of Enjaku III, only a few supporting actors are left. In the more distant past, there was of course many other houses in Kamigata. 2. All actors are encouraged to learn all kinds of roles during their youth, and only slowly with time do they fully specialize. But even then, they still can play a wide range of roles. Nizaemon XIII was extremely prolific, and he absorbed the style of many great actors of his time, including Kichiemon I, Nizaemon XI and Chūsha VII. Almost all actors of male roles learn a few aragoto roles, such as the triplets in Kurumabiki, Otokonosuke in Sendai Hagi or Gorō in Soga no Taimen. Not sure who Nizaemon XIII learned aragoto, perhaps Bandō Mitsugorō VII. Also, although I don't think he played many aragoto roles, Nizaemon XI trained under Danjūrō IX himself. 3. I vaguely remember reading in an interview that Tōjūrō IV wanted his sons to inherit the Tōjūrō name. But in my opinion Ganjirō IV still has a long way to go before he reaches the level of artistry of his predecessors, let alone surpass it to merit the Tōjūrō V name. After all, the Ganjirō name is already extremely prestigious. His father was given the Tōjūrō name, among other things, for his prolific work reviving plays by Chikamatsu (as part of the so-called Chikamatsu-za troupe), a project which has not been continued by his sons. It would be reasonable for Ganjirō IV and Senjaku III to spend the rest of their careers with their current name.
As a novice in watching Kabuki, I find it amazing how particular rolls are passed down family lines. As well as the particular interpretation of those rolls. How hard is it to break with such a tradition, for an actor to change or update a family style?
As usual, K. I. B. keeps fans outside of Japan informed on the latest Kabuki news!
It is a fascinating aspect of kabuki indeed! Actors first must learn and follow the acting traditions (kata) of their predecessors, but after playing a role successfully several times, they are often expected to add their own touches and create their unique version of the role. That said, during the last century, it has become increasingly rare for actors to make big changes to the traditions for important roles, and some kata have remained essentially the same since the late XIX century. It must be really difficult to balance tradition and innovation for the actors, but in the case of the high-ranking actors, technically they have full control of the roles belonging to their house, and they could change them in any way they want. They just generally chose not to.
今時今日~日本能劇~越多水準~謝謝~♡
informative video as usual!
As someone who has watched several Kabuki plays, the Kamigata style is always interesting to observe and watch, mainly due to the gentler, sensitive and human tone of Kamigata Kabuki (or Wagoto style) in contrast to the more heroic, raw and superhuman tone of Edo Kabuki (or Aragoto style). By the way, about Kamigata's Kabuki, there are some things that intrigue me:
1. Aside from the Matsushimaya acting house, what other Kabuki acting houses are known for their Kamigata style?
2. We know that Kataoka Ainosuke started out as Onnagata, then evolved into Wagotoshi (Nimaime) and currently he is the main Aragotoshi outside of Tokyo. One thing I've always wondered about is: if most of the tachiyaku actors that are part of the Matsushimaya house are Wagotoshi (mainly Kataoka Nizaemon XV), how Kataoka Ainosuke VI, Kataoka Gatō V (Ainosuke VI's uncle) and Kataoka Nizaemon XIII (Gatō V's father and Ainosuke VI's grandfather) managed to learn about the Aragoto style? I know that Ainosuke VI possibly learned about the aragoto style from his uncle Gatō V and Gatō V learned it from his father Nizaemon XIII. But what about Nizaemon XIII? Who taught him about the Aragoto style?
3. We know that the "founder" of Kamigata's Kabuki is the original Sakata Tōjūrō. And we know that Nakamura Ganjirō IV, being the eldest son of Sakata Tōjūrō IV, is the one who will possibly become Sakata Tōjūrō V in the future. In your opinion, is the possible future name of Nakamura Ganjirō IV really Sakata Tōjūrō V or is there some other prestigious name that he could possibly adopt in the future?
1. Just the Matsushimaya and the Ganjirō line from the Narikomaya. In the recent past there was a third one, the Kawachiya, home to the Enjaku line of actor, but with the death without heirs of Enjaku III, only a few supporting actors are left. In the more distant past, there was of course many other houses in Kamigata.
2. All actors are encouraged to learn all kinds of roles during their youth, and only slowly with time do they fully specialize. But even then, they still can play a wide range of roles. Nizaemon XIII was extremely prolific, and he absorbed the style of many great actors of his time, including Kichiemon I, Nizaemon XI and Chūsha VII. Almost all actors of male roles learn a few aragoto roles, such as the triplets in Kurumabiki, Otokonosuke in Sendai Hagi or Gorō in Soga no Taimen. Not sure who Nizaemon XIII learned aragoto, perhaps Bandō Mitsugorō VII. Also, although I don't think he played many aragoto roles, Nizaemon XI trained under Danjūrō IX himself.
3. I vaguely remember reading in an interview that Tōjūrō IV wanted his sons to inherit the Tōjūrō name. But in my opinion Ganjirō IV still has a long way to go before he reaches the level of artistry of his predecessors, let alone surpass it to merit the Tōjūrō V name. After all, the Ganjirō name is already extremely prestigious. His father was given the Tōjūrō name, among other things, for his prolific work reviving plays by Chikamatsu (as part of the so-called Chikamatsu-za troupe), a project which has not been continued by his sons. It would be reasonable for Ganjirō IV and Senjaku III to spend the rest of their careers with their current name.