Some of the Gidayubushi Ningyo Joruri works performed by Awaji-za are those created in Awaji and those handed down in Awaji. Introducing works that have the aspect of "Awaji original".
For the classification and explanation of the list, refer to and cite "Awaji Puppet Performance Work" (Yuro Kubori / Takeo Kozu).
A work created and premiered at the center (Osaka / Edo Ningyo Joruri Theater Company)
《In the center, the tradition was cut off in the early modern period, and it was handed down by Awaji Puppet even after modern times》
1. 1. Basically handed down as the original
Hidehira Oshu (Oshu Hidehira Hatsu no Hanamuko)
In February of the 4th year of Genbun (1739), the premiere of Toyotake Seat, a solo work by Sosuke Namiki. The work was never replayed in Osaka after its premiere, but it was passed down to modern times by Awaji Puppet.
Only a few songs have been handed down today for the premiere of Toyotake Echizen Shojo, the originator of the Toyotake seat. Under such circumstances, the work that was introduced to Awaji Puppet, especially the Sandanme Kiri, attracted attention from researchers and performers as it had few changes in the verses and the style of the song had the narration of Echizen Shojo. rice field. As a result, Sannokiri was reconstructed by Toyotake Rosho (fifth generation, deceased) and Kinya Nozawa (currently Kinshi) of Bunraku, based on the traditional song in Awaji, in the form of returning to the original verse. There is.
Awaji's folklore was recorded by Taro Toyosawa (shamisen), the last Gidayu-bushi folklore in Awaji. 1st stage "Ouchi" "Shimizu Hanami", 2nd stage "Kuramayama" "Ikeda Inn", 3rd stage "Matsushima Miyai" "Distant Mirror" "Hidehirakan", 4th stage "Shojikan", 5th stage "Kyoto Gojobashi" (not the original, "Kiichi Hogen Sansho Maki") was recorded by Machitaro's narration (only "Hidehirakan" is narrated by Asanosuke Takemoto) in 1969, and was recorded at the Waseda University Theater Museum. AWAJI NINGYÔ JÔRURI It is stored in the museum. In addition, at the 24th folk entertainment performance "Awa Ningyo Theater" in October 1981, there were performances of "Ikeda-juku", "Hidehirakan" and "Shojikan", and the performance records remain. ..
Hirushima Takeyuki Question and Answer (Hirugakojimabu Yumondo)
August Takemoto-za premiere in the 8th year of the Horeki (1758), a collaboration by Koidemo Takeda, Kanko Yoshida, Hanji Chikamatsu, Raku Miyoshi, and Takihiko Takemoto. The sumo wrestling scene in the third stage seems to have gained popularity, and it is described in "Takemoto Persistent Sakura" as "an octopus that can be made into a great octopus." It was re-performed in Kyoto in September of the same year, but there are no other records of the performance. Since there is a place to show the puppets in the sumo scene, it is thought that it has become established as a performance of Awaji Puppet. AWAJI NINGYÔ JÔRURI It can be seen that the floor books of Ichimura Rokunojoza and Kobayashi Rokutayuza remain in the museum, and the sumo wrestling ground was talked about in a dialogue.
In March of the 21st year of the Meiji era, Ueno Genzaemonza (predecessor of Awaji Gennosukeza) was performing at Tokushima Handa, "To the Great Introductory Yori Important", and "Kakuriki no Dan" was "East and West Both Floors". It was a performance by "Actor Sou Desuihi" (Tokushima Prefectural Archives Sakai Family Document). From the description that remains in the existing floor book, it can be confirmed that it was performed until the Taisho era.
Odakan Twin Diary (Odayakata Futago Nikki)
August, Meiwa 7 (1770) Kyoto Shijo north side play, Ogiya Waka Tayuza premiere. Author Sensuke Suga. In March of the 10th year of Bunsei (1827), the performance in the center was cut off at the end of the Edo Hizen undercard.
In Awaji-za, it has been handed down to the modern era, and the floor books of Ichimura Rokuno-za and Uemura Genno-za still exist. According to the floor book of Rokunojoza, in Awaji, all nine stages of this work are composed of five stages, the first and second stages of the original are the first stage, the fourth and seventh stages are the second stage, and the fifth stage is the third stage. It can be seen that the 8th stage was performed as the 4th stage and the 9th stage was performed as the 5th stage. In Awaji's traditional songs, the third stage of the five-stage composition (the fifth stage of the original) is left by the narration of Taro Toyosawa.
Genpei Yashima Battle [Yumi Kumazaki] (Genpei Yashima Kassen [Yunze Ichiyuu no Minato])
Meiwa 8th year (1771) New Year Edo Hizen premiere, by Fukuuchi Onigai (Hiraga Gennai) (assisted by Nakaji Yoshida). The premiere title is "Yumisei Chiyuminato", and "Genpei Yashima Battle" is a new title in Awaji Puppet. In the center, there is no record of the performance other than the premiere performance (there is a performance once in Osaka until the third stage), but it seems that it is performed frequently in Awajiza, Uemura Gennojoza, Ichimura Rokunojoza, In addition to the floor book of Denjiro Yoshida, there are many remaining manuscripts. In September of the 2nd year of Koka (1845), at the Yoshida Denjiroza box office in Tokushima Handa, it can be confirmed that the performance was performed "from the beginning to the 4th stage" under the external title of "Yusei Yashima Battle" (Sakai family). documents).
In the traditional song, Sannokiri is left by the narration of Taro Toyosawa.
Katakiuchi Yuuki no Kameyama
October, Kansei 6th year (1794), Osaka Kitayuki Shinchi play premiere. Sima Zhi work. Tenpo 13th year (1842) New Year Osaka Kitahorie is the last, and the through performance in the center is cut off.
In Awaji-za, it has been handed down to the modern era, and the floor books of Awaji Genno-za and Ichimura Rokuno-za still exist. Of these, one of the Awaji Gennosuke-za floor books has a note stating that this work was performed in 1930.
Enemy Defeat Tenka Chaya [Saiho Haru Sumiyoshi] (Kataki Uchiden Gajaya [Kataki Uchiharu no Sumiyoshi])
Kansei 8th year (1769) New Year, Edo Satsumaza premiere. It has been said that the premiere location is unknown because there is no ranking left, but it was identified as the premiere at Edo Satsuma Gaikoza from the fact that the first board was published in Edo from the bibliographic research of the book and its imprint signature etc. (Takeo Kozu, "Jorurimoto History Study"). The author is "Rabbit Kakutei Totaka" in the unrevised book, and "Nagawa Shishosuke / Matsuitei Monjin Tsutsuto Takashi" in the revised book. The title of the premiere is "Saiho Haru Sumiyoshi". Around the first year of Kyowa, he re-performed in Edo with the title changed to "Houjou His Imperial Highness Chaya". The internal title "Tengachaya Juenkai Ningyo no Dan" is the seventh stage of this work, and the five lines of Osaka Sasai Jiroemon board remain, but there is no replay record in Osaka and Kyoto.
In the existing floor books of Awajiza (Uemura Gennojoza, Ichimura Rokunojoza, Awaji Gennojoza, etc.), it is mainly described as "(enemy) Tenka Chaya". In October of the 20th year of the Meiji era (1878), the external title was recorded as "The Story of the Enemy Tenka Chaya" in the performance of Handa Village, Tokushima, and Awajo Uemura (Sakai family document).
Jiraiya Story (Jiraiya Story)
The play premiere of Dotombori Kaku, Osaka, in August of the 6th year of Bunka (1809). Authors Haruzo Namiki and Heihachi Yoshii. This is a joruri version of the Kabuki "Jiraiya Fence" (author Tokuzo Chikamatsu), which premiered in September of the 4th year of Bunka (187). In July 1863, the performance in the center was cut off at the end of the in-house eastern small house in Inari Osaka.
In Awaji-za, it has been handed down to the modern era, and the floor books of Awaji Genno-za and Ichimura Rokuno-za still exist. In addition to the "Jiraiya story", many of the external titles are "Katakiuchi Jiraiya (story)". The third stage of Awaji's traditional song (the original "Jiraiya Sumie") is left by Taro Toyosawa's narration.
Flower Raft Ryujima
September, the 7th year of culture (1810), Osaka Araki play premiere. Author Tota Sagawa. In the title of the book, the hornbook "Masu / Supplement" is shown, and as written in the hornbook, the same masterpiece (written by Kazutori Asada, premiered at the Osaka Toyotake seat in November 1746). It is an adaptation of Yashiro Tadami and Raisuke Matsuya).
The record of the replay in the center is unknown, but it has been handed down to the modern era in Awaji-za, and floor books such as Ichimura Rokuno-za and Awaji Genno-za remain.
2. 2. Those that have been supplemented or revised in Awaji Puppet
Azuma Kagami Fuji no Makigari
Awaji-za's original performance title, Kyoho 19th year (1734) Toyotake seat premiere "Soga Koumidai" and Kan'en 1st year (1748) Toyotake seat premiere "Tokan Okarimaki" Assortment of works. According to the existing books (the external titles of the books are not fixed, and many of them are simply called "Fuji no Makigari"), basically the second stage is the same as "Tokan Makigari", and the third stage. After that, it can be seen that the verses are modified while synthesizing the two works in a complicated manner (" AWAJI NINGYÔ JÔRURI See "List of Materials in the Museum 1 Joruri Book"). However, "Tokan Fuji no Makigari" performed by Ueno Genzaemonza at Tokushima Handa in April 1888 is almost the same as "Tokan Fuji no Makigari", judging by the danmyo. It is presumed that it has been performed, and it is highly possible that the full-scale combination will be after that. In that case, "Tokan Fuji no Makigari" will be renamed or commonly known as "Tokan Fuji no Makigari".
A recording of "Fuji no Makigari Sannokiri" (Takemoto Asanosuke, Toyosawa Machitaro) is left as a traditional song, but this is almost from "Soga Koumidai" Sannokiri Dori. On the other hand, "Tokan Fujimakigari / Sandanme no Kiri" (13-01), which has a description of the 30th year of the Meiji era in the Joruri book of the Hiketa family, remains, but this is "Tokan Mikarimaki" Sannokiri. be. From this, it can be seen that both works ("Soga Koumidai" and "Tokan Okarimaki") have been handed down separately until modern times.
Sakura Himeshizu no Himezakura
The premiere of the Toyotake seat in the 10th year of the Horeki (1760), a collaboration between Wakatake Fuseki, Toyotake Oritsu, and Nakamura Aki. The replay by the Central Theater Company remains only in the case of Ise Furuichi in the year of its premiere, but it can be confirmed that it has spread to Shinshu Inatani Furuta (see Iida City Museum of Art Survey Report 2 "Inatani Ningyo Drama" ﹇Document Catalog Edition﹈). In addition, twelve floor books of Awaji Gennojoza are in the collection of the Hyogo Prefectural Museum of History, and it can be seen that they continued to be performed by Awajiza from the premiere to the modern era.
However, according to the Awaji Gennosuke-za floor book on the right, the text is not the same as the original, and the "Kogenji Dochugunki" (premiered at Takemoto-za in the first year of Enkyo) is in the second stage of "Kogenji Dochugunki". Kiri, "Omi Kunigen Goro Crucian Carp" (premiere of the play Toyotake Konoyoshiza on the side of Kitahorie Ichino, Yasunaga 8th year) is used in the "Fourth Stage Kiri". Both works are rarely performed in the center and are noteworthy.
Seven Spears of Shizugatake
Awaji-za's original performance title, the same as the premiere of Dotombori Toshiba Theater in the 6th year of Tenmei (1786), "Hiragada Yukimi no Jindate" and the 11th year of Kansei (1799). A combination of the premiere of the play, "The Flag of the Second Part of Taiko (*)". Another title is "Taiko Asahi Hanayama".
In April of the 13th year of Tenpo (1842), at the Uemura Gennosukeza box office (former tree family record) at Nikenyaura, Tokushima, "Daiko Asahi Hanayama Sandanme", "Hiratake Sandanme", and "Tagatake Seven Spears" Is written separately, and this is the one in which the eighth volume of "Flag of the second part (*)", the third stage of "Hiratake", and the ninth volume of "Flag of the second part (*)" were performed. Presumed. In other words, "Daiko Asahi Hanayama" was originally the title change of "Flag of the second part (*)", and "Seven Spears of Shizugatake" is a common name that represents the place of Katsuie seppuku from the lineup. It seems that both "Taiko Asahi Hanayama" and "Seven Spears of Shizugatake" have taken root as the titles that represent. According to the external titles in various records, in May of the 4th year of Ansei (1857), Kutao Nakamura of Awaji Sumoto, "Taikoki Hanayama Shizugatake", September of the first year of Keio (1856). Dotonbori Takeda play Kobayashi Rokutayu-za box office "Seven Spears of Shizugatake Daikoki Asahi no Hanayama", September Wakatayu play Nakamura Kutao-za box office "Taiko Asahi" It is "Hanayama Seven Spears of Shizugatake". However, in the "Motoki Family Record", "Shizugatake on the first day" is written in the part that records the performance of Gennosuke Uemura in the 4th year of Ansei (1857). It can be inferred that it was a popular name. After the latter half of the Meiji era, the "Seven Spears of Shizukatake" became established (the notation of "spear" is not fixed, such as "鑓" and "spear").
As for the composition of the assortment, the part corresponding to the third stage is the same as the third stage of "Hiratake", and the rest is mainly based on "Flag of the second part (*)", and partly summarized using the verse of "Hiratake". be. However, there are considerable rewrites in the verses after the famous "Seisei" (mountain stage).
* "Flaging" is an old character. [Flag] is "Bamboo Kanmuri" and "Flag" / [Flying] is "Wind Nyo" and "昜"
《Those that have been handed down in the center since modern times, but have been supplemented or revised in Awaji Puppet》
Military Law Fujimi Saigyo
The premiere of Takemotoza in the 2nd year of Enkyo (1745), a collaboration by Chiyanagi Namiki, Hanpei Ogawa, and Oizumo Takeda. In the center, the tradition was cut off at the end of the performance at Matsushima Bunrakuza in 1876, but at Awajiza, this work was handed down from the first stage to the third stage. In the existing floor book, among the third stage, the first stage of "Tsukijo Akoya no Matsu" was mixed with the first stage of "Ichinotani" (preface "Souseikan no stage"), and a combination performance was made. You can see that. According to the performance record, it is estimated that the performance is as the original in the Ichimura Rokunosuke Banzuke from Tenmei to the Kansei period, while in the Kaei 1st year (1884) tool shop Taniemonza performance. It is a combined performance (Sakai family document), and it is presumed that it was revised at the end of the Edo period.
The traditional song in Awaji has a sandanme cut (Eguchi no Sato) left by Taro Toyosawa.
Miss Keisei Yashima Diary (Musume Kagekiyo Yamanikki)
"Miss Keisei Yashima Diary" premiered at Toyotake Seat in the first year of Meiwa (1746). Toyotake Echizen Shojo Joruri is a work composed by combining the storytelling of Echizen Shojo. Mainly the third stage (originally the third stage of "Great Buddha Hall Mandai Ishizo") was handed down.
The 4th stage of "Genpei Utorikoshi", which premiered at Toyotake Seat in 1770, is mixed in the various books of this work that Awaji Puppet conveys. It is not certain when this assortment performance began, but it can be confirmed that this type of performance was performed at the Rokunojoza box office in Tamura, Tamura, Tokushima in 1881. In the record of the rented play performance in Awaji introduced by Mr. Kanji Niimi, there is "Tenpo Juyo New Year Yoshitsune Hiyodorigoe (Mama) 3rd stage", and "Genpei Hiyodorigoe" was handed down in Awaji. Can be inferred.
Also, in October of the 7th year of the Bunsei era (1824), at the Uemura Hinata Jōko in Tokushima Miyoshi-gun Lawn Village, "Miss Keisei Yashima Diary 5th Dan Sequel" was performed. The second and third stages of "Matsu" (premiered in the 14th year of the Horeki) are inserted (Sakai family document).
The assortment performance itself is also held in the center, but the assortment shown on the right can be said to be unique to Awaji.
Tamamo-no-Mae Asahi no Tamoto
"Tamamo-no-Mae", which is handed down today, is an augmented work with "Picture Book Augmentation" attached to the hornbook at the premiere of the precincts of the Osaka Goryogu Shrine in March 1806. Based on the reading book "Picture Book Sangoku Youjoden", it is a adaptation of the same masterpiece that premiered in the Toyotake seat in the 4th year of Kan'en (1751).
Awaji Puppet Theatre Performed through this work at the National Theater in 1970, but after that, "Doharukan" (Minokiri) and "Nanakake" (the fifth stage of the original "Kagei Makeup Sesshoseki") Except, many stages of folklore have been cut off. However, at the Hyogo Performing Arts Center performance in January 2012, the fourth stage "Shinsen-en" was revived for the first time in about 40 years. This work has been performed in Bunraku throughout the resurrection in 74 and 1982, but "Shinsen-en" and "Kagei Makeup Sesshoseki" are based on the Awaji version of the script, which is different from the original. be.
It is not clear when the difference from this original occurred, but for example, in "Shinsen-en", the replacement of the real (human) Tamamo-no-Mae and the fox, which is not drawn in the original, is made into a scene and supplemented in the first half of the stage. There are quite a few changes. "Seven ghosts" are basically based on the original, but include their own verses. "Seven ghosts" are seven changes, that is, seven roles. In Osaka, the numbering is often written as "... early change of role", but in Awaji-za, it was well established that the change of fox was called "... ghost". The early change of dolls in "Tamamo-no-Mae" was popular not only in Awaji-za but also in Osaka, but it was handed down as a showcase especially in Awaji-za, which is mainly a doll. It became so.
However, as mentioned above, "Seven ghosts" is originally the production name, so it is not limited to "Kagei Makeup Sesshoseki", but it is also possible to show the seven roles in another stage of the same work ("Shinsen-en", "Corridor", etc.). There is also an example (September of the first year of Koka, Yasugoro Yoshikawa) who played "Shinsen-en Garden Sesshoseki" in another work "Shikishi of Kojo Ogura". In addition to the seven roles, there were also cases where it became a "twelve ghosts" (September, 2nd year of Koka, "Tamamo-no-Mae", "Important Keigoto").
Live photo morning glory (Shotsushi Asaga no Obanashi)
This work is presumed to have been performed unfinished at the premiere of the Osaka Inari in-house play on New Year's Day in the 3rd year of Tenpo (1832), by Yamako Yamada. Eighteen years later, in the third year of Kaei (1850), the original book, "Shosei Shacho Story," was published. "Michikusa" and "Komazawa Ueya") were added. However, Awaji-za performed the fifth stage of this work ("Michiyuki" and "Komazawa Yashiki") in Awa and Kii during the Koka period before the publication of the original book, and the original book rather used the Awaji-za performance verse. It is presumed to be.
A major feature of the Awaji version of "Michiyuki" is that the destination is Kamakura, and contrary to the original "Return Saki Azuma no Michikusa" heading for Osaka, Miyuki and Sekisuke go east on the Tokaido. The next scene is originally "Komazawa Kamakura Mansion", but the existing Yoshida Denjiroza old collection "Celebration Hall Stage" is set in Ouchi Nosuke Mansion in Kamakura (see the appendix reprint above). This was probably modified during the Meiji era.
Works created and premiered at Awaji Puppet
《Premiered in the early modern period》
Genji Imadai East Army talk (Imayogenji Azumagundan)
The oldest work that is thought to be the creation and premiere of Awaji Puppet. There aren't many books, and I know about 1 manuscript "Maedaiheiki Ima-sama" and 6 pieces of Itamoto / Nukimoto "Imadai Genji Togundan". The entire contents of the five-dan series can be understood from the penmanship of the 7th year of Kansei (1795), "Maeda Heiki Ima-sama", and the premiere of Takemoto-za in Osaka in May of the 3rd year of Kanpo (1743). It was known as an adaptation of "Tanshu Ouchikuri". "Imadai Genji East Army Talk" is an excerpt of the 4th stage Nokiri "Water Responsibility Stage" and published.
As a performance record, the "Ima-sama Genji East Army Talk" in Echizen in the 8th year of Meiwa (1771) is old, and it is thought that it was established after the 3rd year of Kanpo and before the 8th year of Meiwa. The publication of the excerpted book "Imadai Genji Togundan" was late, and due to the activity period and address notation of Itamoto, it was first published after Tenpo 9 (1838) and before Kaei 3 (1850). It can be estimated that it was done. This is the first example of Awaji Puppet's premiere work, which was released in the center.
In Awaji-za, according to Mr. Hiroo Kubori's "Arrangement of Joruri in the early modern period Awaji-za and introduction of Awaji-za box office materials" (oral presentation by the Theater Study Group), the box office record in Tokushima in February 1826. It's late, but it probably lived as the current song until the time of the publication of this book on the right. Perhaps because of this, the shamisen score, which is rare for Awaji Puppet's original traditional songs, is left in some of the books on the right.
There is a reprint of "The Stage of Water Responsibility" in "Joruri Honshi Kenkyu" by Takeo Kozu.
Futanashima Onna Tenjinki
Awaji-za premiere work at the end of the Tokugawa shogunate, like "Katakiuchi Gokoma Geta", which is a Joruri version of the novel of the same name. Former collection of Denjiro Yoshida "Futanajima Onna Tenjinki Yamamotoya Hodan" ( AWAJI NINGYÔ JÔRURI Established at least before April 1855, by writing in the museum, Niimi family 08-040). In addition, it is highly possible that it was established before the Koka period due to the performance numbering of this work by Denjiro Yoshida, a new member of the Awaji Puppet Association in 2005 (Mr. Kozu, estimated to be around 3-5 years of Koka). In the 4th year of Ansei (1857), the performance of Kutao Nakamura at the leap May Sumoto says "Supplementary Two Najima Onna Tenjinki" ("Seeds of the Suededai"), and it can be assumed that two stages will be established. Later, the external titles of "Uwajima Tenjinki" and "Uwajima Tenjinki" became established.
The content is based on the house turmoil of the Date feudal clan of Uwashima, and depicts the period until Kiyoshi Yamabe (Yamamoto), the chief retainer who was assassinated by the evil vassal Ohashi Uzen, is enshrined as the Japanese spirit Daimyojin. The title "Woman Tenjinki" is a descendant of Sugawara no Michizane, and the old mother and wife who aspire to defeat Seibei pray for their own lives at Mino Yoro Waterfall. It depends on the content that it loses power and becomes an enemy.
Koma clogs after katakiuchi
Awaji Puppet's new Joruri, which is a Joruri version of the actual record. Yoshida Denjiroza Former Collection "Higo Koma Geta Sajibaya Hodan" ( AWAJI NINGYÔ JÔRURI By writing at the museum, Niimi family 13-051), it is confirmed that it was established at least before June 1858. In addition, it is highly possible that it was established before the 5th year of Kaei (1852) by comparison with the actual record, and since it is influenced by the "live morning glory story", it is after the 3rd year of Tenpo (1832). It turns out that it is established. In the first year of Man'en (1860), Nagako Takemoto (later Yatao Takemoto, the fifth generation) participated in the tour of Kutao Nakamura as a supporting actor and talked about the second stage of this work. ..
Based on the actual record of Higo Koma Geta, Zenkuro Mukai, a ronin from Banshu, caused a turmoil in Higo, a swordsman training destination, and in the process, the samurai of the Higo Hosokawa family split his forehead with Koma Geta. Based on the circumstances leading up to Zenkuro's later clearing and the uproar caused by Zenkuro, Samurai Aoyagi, who had Zenkuro as a swordsman instructor for his son Gennosuke, was defeated by Genjibei Yasaka and gained the help of Zenkuro. The process leading up to Gennosuke's defeat of his father is depicted. The third and fourth stages are scenes that are not in the actual record, and are based on the contents of the preceding Joruri "Hakone Reiken katakiuchi" and "Live morning glory story". In the fourth row, against the backdrop of the rise of Kiyomasa's belief (the belief that deified Kato Kiyomasa) at that time, a spiritual test that Kiyomasa's "Mikage" saves the place where Gennosuke Seisho Koshinkou is faced with a revenge. Is organized.
"Premiered after modern times"
Kagoshima War Report / Sino-Japanese War Report /
Kana Kitasei Gunki (Yamatogana Hokushingunki) / Russo-Japanese War (Nichiro Sensoki)
In the Meiji era, every time a big war broke out, Awaji Puppet created a special feature based on this and performed it in various places. In particular, Awaji Gennojoza (formerly Ueno Genzaemonza, renamed to Shizuki Gennojoza in 1896, and renamed again in 1896). It seems that it was popular in Awaji Gennojoza), AWAJI NINGYÔ JÔRURI All the books in the museum are also the old books in the same room. "Kagoshima War" is the Southwestern War, "Sino-Japanese War" is the Sino-Japanese War, "Kana Kana Kitaseigunki" is the Kitasei Incident (Yoshiwadan Incident), and "Russo-Japanese War" is the stage of the Russo-Japanese War. Is.
Of these, "Sino-Japanese War" is the period when the old and new theater companies, including the Kawakami Otojiro troupe, competed in various places around the old October of 1894, before the end of the war. It was premiered in. Furthermore, the same work was supplemented in April, when the Treaty of Shimonoseki was signed and the war ended the following year. The author of the supplement can be seen to be "Akamatsu Karasu (Toemon)" from the description in the former collection of Shizuki Gennojoza. This person is from Shizuku-mura, Tsuna-gun, and also performed in "Sarugashima Enemy Story" (premiered at Osaka Inariza in October 1887) and "Shinran Jojin Ichidaiki" (formerly October in the same year in Izumi Province). There are works such as Shizuku Gennosuke-za floor book at the Hyogo Prefectural Museum of History.
It is presumed that the materials of the Hiketa family have a record of the war situation entitled "Russo-Japanese War", and that such writings were used as materials when writing Joruri.
Atsushirou Nakano, the founder of the Awaji Puppet Arts Reconstruction Association, left a wartime performance with Osaka's Kano Tayu (who would later become the 7th Harutao, the editor of "Kono Kimicho") as the composer.
v The "Kanbarou Master's Work" (written by Naganaga Ogasawara, the Navy's chief) and "Kano" are on the cover of "Kusuko Futaba's Opinion Stage", which was published in November 1935. Although it is listed as "Tayu composition", only Atsushi Nakano is listed as "copyright and composition copyright holder" and "publisher" in the colophon.
v The content is that after parting with Kusunoki Masashige at Sakurai Station, his child, Masayuki, comes in contact with the news of his father's defeat at Kawachi Kokukanshinji Temple. It is said that his mother, Hisako, was harassed and decided to raise troops at a later date. In the same work, Niimiie 08-090, a leaflet of the Kobayashi Rokutayuza box office in Tokushima in November 1943 remains. Kusunoki Masashige was actively praised during the Sino-Japanese War and the Pacific War, and was used for wartime education. It was used. In Bunraku, "Kusunoki Masashige" was performed in April 1945.
In the same work, Taro Toyosawa 058-03, "Summer 1945, based on the original work by Lieutenant General Horiuchi, composed by Katao Takemoto, February 13, 1913, the first performance with the Nushimamura Eiza Nite Kita Incident" It is known that it was established in the summer of 1937 (Showa 12).
The title of the same work, Niimiie 08-088, is "Sho Nogi's wife return stage" and "Army lieutenant general Bunjiro Horiuchi's original composition by Kano Tayu Takemoto" on the left. Only "Atsuichiro Nakano" is listed as the "copyright owner" in the publication.
The content is that Maresuke Nogi, who was appointed as the 11th Division Chief of Zentsuji, Kagawa Prefecture, was indignant at the non-commissioned officer's play as a geisha. He promised a couple to save his father's plight, "he said, calling him a military officer and vowing to take it into consideration at a later date. The name of the stage is associated with the fact that Nogi repelled his wife, who visited Kanakura-ji Temple, where he was staying. I feel the timeliness in ignoring the free will of the two women.
Jibo no Kakioki
At the end of the same work, Niimiya 08-094, "Suma Tayu Takemoto, Naka-Asahi-cho, Iyo-gun, Ehime Prefecture, on the 4th day of June, 1945" "Nite Uemura Gennosuke, Tokushima-shi" It is known to have been established around June 1938, as it says, "Teacher Osaka Takemoto Hisakuni practiced from June 21st and finished for 10 days." The premiere of Uemura Gennojoza.
However, as for the time setting, the 72nd aristocratic institute convened in September immediately after the "North China Incident" Marco Polo Bridge Incident on July 7, 1945 and the "Shanghai Incident" on August 9, 1945. Since there is a place to touch the parliament and not to touch the parliament 73 times in December, it is probable that the text was written from September to November 1945.
The content begins with Yonejiro Tokuda convening and asking his wife, who divorced six years ago, to take care of his sick old mother. The wife said, "Forget the old grudges." "The protection after the gun is the righteousness of the people. No one discriminates against him." When I was happy to go home, my old mother committed suicide, and in the memorandum, she said, "If I die, I will have no regrets. Abandon Takashi. Build loyalty to Taisei. "
Although it is stupid, the syntax is 20 such as "In the anti-Japanese demonstrators, in every direction. For challenging actions. For the sake of patience and for our army. For the sake of imperial self-defense. And for justice and humanity." It seems that it can be seen even after the latter half of 2010, leaving a depressing impression.
The cornerstone of Koa
Established in August 1940, "Koa no Kiso" is "Nakano Kouho", that is, Atsushirou Nakano And, it becomes a tie-up with Kano Tayu. However, "copyright ownership" refers to Atsushi Nakano alone.
The content is that a divorced wife happens to come to a place where a high-interest lender is pressing for repayment to a man who goes bankrupt in the stock market and throws out postal savings to save the plight. When the postmaster, who came by chance, urged the two to reconnect, the usury regretted the old evil and offered to close the business. The postmaster, who was pleased with this, explained the significance of the new construction of Daitoa and concludes, "If you have any questions, please go to the post office. Please do not hesitate." After reading, I don't want to talk to anyone who has abandoned the plight of the family.
During the film, the characters said, "If you think that the money you save will be an airplane, a tank, or a home front. If you think about it, buy ten government bonds. It's the same as taking one of the enemy soldiers' heads. Does that mean? I think saving money is the duty of the people after the gun. " A work that reminds us of the dark role that "postal savings" and "government bonds" have played in Japan.