Thank you for making this video! Unlike in Broadway, for example, where new actors can burst onto the scene and quickly achieve great success in a leading role, in Kabuki it takes decades before an actor can be considered truly great, and even then they will always be compared to their processors. It's nice to know about actors earlier in their careers so we can support them as they grow.
11:05 the lack of kakegoe at such a dramatic moment is really missing the cherry on top for this performance. I really do hope kakegoe is already revived with the covid panic winding down
I agree completely about Shingo, such a graceful dancing! The naming of the Omodakaya guild is a bit confusing. Yamato Takeru was created by Ichikawa Ennosuke III (later known as Ichikawa En'ō II). There's no Ichikawa En'ō III yet, although it is possible that Ennosuke IV might take it in the future to leave the Ennosuke name available for the next generation.
All are great actors in their own right, and will continue to grow their talents! What a shame Bando Tomasaburo has no students or sons. He is an unparalleled talent. Thanks again for your video!
Can’t wait for part two! Was wondering if maybe one day you can come Up with a video of kabuki plays that are noh based and how they got turned into kabuki. For example, like Musume Dojoji of course or Momijigari. I know Momijigari has a matsubame mono version Momijigari Onizoroi and a scenic version set on Mt. Togakushi. Also With The noh play Ataka which turned into Kanjinchou then the parody Gohiki Kanjinchou. I liked seeing the progression of kabuki influence on a classic piece of Noh.
@@KabukiInDepthreally excited to see what you come up with! Kōkaji was another work I recently saw staged with multiple scenes and other characters instead of the original with just the blacksmith and the God Inari
Man, I really hope that Minosuke II succeeds as a Kabuki actor, because he is a skilled Kabuki actor and Kabuki dancer and the death of his father, Bando Mitsugorō X was quite traumatic to say the least, so I think Minosuke II deserves to inherit the name Bando Mitsugorō, so I think Minosuke II deserves to inherit the name Bando Mitsugorō XI in the future and become a successful actor. Speaking of which, I have a question: in the future Minosuke II/Mitsugorō XI's Shūmei, do you think he will choose which plays and roles for this commemorative event (mainly based on his father's Shūmei in 2001)?
I guess it depends on his position in the kabuki world when the moment comes. If he is allowed to take the Mitsugorō name, he will definitely have some saying in the choice the roles. But his father played some offbeat roles during his Kabuki-za shūmei, including short dances and supporting characters. But then, in the following tour, when I imagine he had more freedom of choice, the picked some of the most prestigious roles in the repertoire, including Sukeroku, Matsuōmaru in Terakoya and Kumagai. The Mitsugorō family has its own version of Sukeroku, and a history of playing Shibaraku. But I think it is very unlikely, unless Minosuke becomes extremely popular, that he would be allowed to play those roles at the Kabuki-za.
@@KabukiInDepth Another question here: you mentioned a while ago that the Yorozuya acting house is a split group from the Harimaya acting house (i.e. Manju I and Kinnosuke II were part of the Harimaya house originally). Explain something to me here: something happened that caused Kinnosuke I, Manju I (at the time Tokizō V), Kinnosuke II (at Nakamura Shinjirō) and Karoku V (the current head of the Harimaya acting house) to leave the Harimaya house and created the Yorozuya acting house?
I have only read superficial accounts of the story, but apparently there was some bad blood between the Tokizō and the Kichiemon sides, and they decided to officially separate the family, as it was already divided. It seems to go back to Tokizō III, but I don't know many details yet.
Thank you for making this video! Unlike in Broadway, for example, where new actors can burst onto the scene and quickly achieve great success in a leading role, in Kabuki it takes decades before an actor can be considered truly great, and even then they will always be compared to their processors. It's nice to know about actors earlier in their careers so we can support them as they grow.
So impressive! The dance before throwing a fan. I thought the helper behind was going to help changing costumes. Perfect catch!
11:05 the lack of kakegoe at such a dramatic moment is really missing the cherry on top for this performance.
I really do hope kakegoe is already revived with the covid panic winding down
Last week at the Kabukiza, I heard many kakegoe. I was very relieved that there were so many!
They are amazing🎉
I kinda love Bando Shingo's dancing! Sharp, fluid, and super charming.
Out of curiosity, isn't Yamato Takeru by Ichikawa En'o III? Not the second?
I agree completely about Shingo, such a graceful dancing!
The naming of the Omodakaya guild is a bit confusing. Yamato Takeru was created by Ichikawa Ennosuke III (later known as Ichikawa En'ō II). There's no Ichikawa En'ō III yet, although it is possible that Ennosuke IV might take it in the future to leave the Ennosuke name available for the next generation.
thank you
Kabuki❤
All are great actors in their own right, and will continue to grow their talents! What a shame Bando Tomasaburo has no students or sons. He is an unparalleled talent. Thanks again for your video!
Can’t wait for part two! Was wondering if maybe one day you can come
Up with a video of kabuki plays that are noh based and how they got turned into kabuki. For example, like Musume Dojoji of course or Momijigari. I know Momijigari has a matsubame mono version Momijigari Onizoroi and a scenic version set on Mt. Togakushi. Also With The noh play Ataka which turned into Kanjinchou then the parody Gohiki Kanjinchou. I liked seeing the progression of kabuki influence on a classic piece of Noh.
That's a great idea! I've covered many works adapted from the noh (recently, Funa Benkei), but never focusing on the process of adaptation itself.
@@KabukiInDepthreally excited to see what you come up with! Kōkaji was another work I recently saw staged with multiple scenes and other characters instead of the original with just the blacksmith and the God Inari
I'm optimistic that they are progressing very well in their acting craft.
Ichikawa Somegoro and Ichikawa Danko are also next generation star!
Man, I really hope that Minosuke II succeeds as a Kabuki actor, because he is a skilled Kabuki actor and Kabuki dancer and the death of his father, Bando Mitsugorō X was quite traumatic to say the least, so I think Minosuke II deserves to inherit the name Bando Mitsugorō, so I think Minosuke II deserves to inherit the name Bando Mitsugorō XI in the future and become a successful actor.
Speaking of which, I have a question: in the future Minosuke II/Mitsugorō XI's Shūmei, do you think he will choose which plays and roles for this commemorative event (mainly based on his father's Shūmei in 2001)?
I guess it depends on his position in the kabuki world when the moment comes. If he is allowed to take the Mitsugorō name, he will definitely have some saying in the choice the roles. But his father played some offbeat roles during his Kabuki-za shūmei, including short dances and supporting characters. But then, in the following tour, when I imagine he had more freedom of choice, the picked some of the most prestigious roles in the repertoire, including Sukeroku, Matsuōmaru in Terakoya and Kumagai.
The Mitsugorō family has its own version of Sukeroku, and a history of playing Shibaraku. But I think it is very unlikely, unless Minosuke becomes extremely popular, that he would be allowed to play those roles at the Kabuki-za.
@@KabukiInDepth Another question here: you mentioned a while ago that the Yorozuya acting house is a split group from the Harimaya acting house (i.e. Manju I and Kinnosuke II were part of the Harimaya house originally). Explain something to me here: something happened that caused Kinnosuke I, Manju I (at the time Tokizō V), Kinnosuke II (at Nakamura Shinjirō) and Karoku V (the current head of the Harimaya acting house) to leave the Harimaya house and created the Yorozuya acting house?
I have only read superficial accounts of the story, but apparently there was some bad blood between the Tokizō and the Kichiemon sides, and they decided to officially separate the family, as it was already divided. It seems to go back to Tokizō III, but I don't know many details yet.