Among the Gidayubushi puppet joruri works that Awaji-za has performed, there are some that were created in Awaji, and some that have been passed down in Awaji. We would like to introduce works that have aspects that are unique to Awaji.
For the classification and explanation of the list, refer to and quote from ``Explanation of Awajiza Performance Works'' (Hiroo Kuhori/Takeo Kozu).
Works created and premiered by Chuo (Osaka/Edo puppet theater company)
《Traditions in the center ceased to exist in the early modern period, but were passed down through the modern era by Awaji-za.》
1. Things that have been handed down basically unchanged from the original work
Oshu Hidehira Hatsuno Hanamuko
A solo work by Sosuke Namiki, premiered at Toyotake Theater in February 1739. Although the work was never performed again in Osaka after its premiere, it was passed down to modern times at the Awajiza Theater.
Today, only a few pieces of the first performance by Toyotake Echizen Shōjo, the founder of Toyotake-za, have been handed down. Under these circumstances, this work, especially the Sandanme-giri, which was passed down to the Awaji-za, has received attention from researchers and performers as it has minimal changes in lyrics and music style that retains Echizen Shōjo's storytelling style. Ta. As a result, Sanno-kiri was revived by Bunraku artists Toyotakerodayu (5th generation, deceased) and Nozawa Kinya (currently Kinshi), based on the traditional music of Awaji, with the original lyrics and lyrics. There is.
Awaji's traditional songs were preserved through recordings by Machitaro Toyosawa (shamisen), the last Gidayubushi successor of the Awaji-za. 1st tier: ``Ouchi'', ``Shimizu Hanami'', 2nd tier: ``Mt. Kurama'', ``Ikeda Yadoya'', 3rd tier: ``Matsushima Miyai'', ``Distant Mirror'', ``Hidehirakan'', 4th tier: ``Shojikan'', 5th tier ``Kyoto Gojo Bridge'' (not the original work, but ``Kiichi Hogen Sanryakumaki'') was recorded in 1966 by Machitaro (``Hidehirakan'' was narrated by Takemoto Asanosuke), and was published at the Waseda University Theater Museum and AWAJI NINGYÔ JÔRURI It is preserved in the museum. Also, in October 1975, at the National Theater's 24th Folk Arts Performance "Awa Puppet Show," there were performances at "Ikeda-juku," "Hidehira-kan," and "Shoji-kan," and there are records of those performances. .
[Kuhori]
Hiruga Kojima Valorous Questions and Answers
First performed at Takemotoza in August 1758, a collaboration between Takeda Koizumo, Yoshida Kanko, Chikamatsu Hanji, Miyoshi Shoraku, and Takemoto Takihiko. The sumo wrestling scene in the third tier seems to have become popular, and is described in ``Takemoto Fudanzakura'' as ``a delightful octopus with a great success.'' It was re-performed in Kyoto in September of the same year, but there are no other records of the performance. Since the sumo wrestling scene features puppets, it is thought that it became a regular part of the Awaji-za program. AWAJI NINGYÔ JÔRURI The museum has retained the sumo playbooks from the Ichimura Rokunojo and Kobayashi Rokutayu theatres, which show that the sumo arena was described through dialogue.
In March 1891, the Ueno Genzaemon-za (predecessor of the Awaji Gennojo-za) was performing in Handa, Tokushima, ``Daijyo Yori Oitai'', and ``Kakuriki-no-dan'' was a ``conversation of words from both the East and the West''. It was performed by the actor ``Kenhi Sode'' (Tokushima Prefectural Archives, Sakai family documents). The descriptions left in the extant manuscripts confirm that it was performed even later, around the Taisho era.
[Kuhori]
Odayakata Twin Diary (Odayakata Twin Diary)
In August 1770, Kyoto's Shijo Kitaside Play premiered at Ogidani Wakatayuza. Author Sensuke Suga. After the last performance at the Edo Hizenza Theater in March 1827, continuous performances at the central theater ceased.
At Awaji-za, it has been passed down until modern times, and the manuscripts of Ichimura Rokunojo-za and Uemura Gennojo-za still exist. According to Rokunojoza's floor book, in Awaji, the nine-dan work was divided into five stages, with the first and second stages of the original as the first stage, the fourth and seventh stages as the second stage, and the fifth stage as the third stage. , it is understood that the eighth stage was performed as the fourth stage and the ninth stage as the fifth stage. In the traditional music of Awaji, the third step (the fifth step in the original work) of the five-step structure was preserved by Machitaro Toyosawa.
[Kuhori]
Genpei Yashima Battle [Yuise Chiyu Minato]
Written by Fukuuchi Onigai (Gennai Hiraga) (assisted by Nakaji Yoshida), premiered at Edo Hizenza on New Year's Day, 1771. The original title for the first performance was ``Yuse Chiyu Minato,'' and the title was changed to ``Genpei Yashima Gassen'' at the Awaji-za Theater. Although there is no record of the series being performed other than the first performance in Chuo (up to the third stage was performed once in Osaka), it seems that it was frequently performed at the Awaji-za, the Uemura Gennojo-za, the Ichimura Rokunojo-za, and the Ichimura Rokunojo-za. There are many surviving manuscripts, including the Yoshida Denjiro-za floor copy. In September 1845, at the Yoshida Denjiroza performance in Handa, Tokushima, it is confirmed that ``from Daijo to 4th Danme'' was performed under the title ``Yushi Yashima Gassen'' (Sakai family) documents).
The Sannokiri of the traditional song is preserved by Machitaro Toyosawa's playing and singing.
[Kuhori]
Vengeance for the Enemy at Mount Udonga Kameyama
Osaka Kitano Shinchi Play premiered in October 1794. Written by Shiba Shiba. After the New Year's Festival in Kitahorie, Osaka, in 1842, continuous performances at the central theater ceased.
At the Awajiza Theatre, this play has been handed down to modern times, and there are still extant versions of the play from the Awaji Gennojo Theatre and the Ichimura Rokunojo Theatre. One of these versions from the Awaji Gennojo Theatre still has a note stating that the play was performed in 1930.
[Kozu]
Kataki Uchiharu no Sumiyoshi
First performed at the Edo Satsumaza Theater on New Year's Day in 1796. The location of the first performance was said to be unknown as no number remained, but recent bibliographical research has shown that the first plate was published in Edo, and from the signature on the colophon, it has been determined that the first performance was at the Edo Satsuma Gaikiza. (``Joruri Honshi Kenkyu'' by Takeo Kozu). The author is ``Ugakutei Tokyo'' in the unrevised version, and ``Nagawa Shigansuke Matsui Teimon Jintsutsu Tokyo'' in the revised version. The title of the first performance was ``Revenge Spring Sumiyoshi''. It was re-performed in Edo around the first year of the Kyōwa period under a different title, ``Hoen-Denge Chaya.'' The inner title, ``Tengachaya Ju Enemy Punishment Doll Shop'' is the seventh step of this work, and although there is a copy of the gogyo book written by Jiroemon Sasai in Osaka, there is no record of it being re-performed in Osaka or Kyoto.
In the existing Awaji-za floor books (Uemura Gennojo-za, Ichimura Rokunojo-za, Awaji Gennojo-za, etc.), it is mainly written as ``(enemy revenge) Tengachaya.'' In October 1887, when it was performed in Handa Village, Tokushima, and Uemura Awajo, the external title is recorded as ``Tenkachaya Monogatari of Enemy Punishment'' (Sakai Family Documents).
[Kamitsu]
Jiraiya Monogatari
In August 1809, the play was first performed by Kaku in Dotonbori, Osaka. Author: Haruzo Namiki, Heihachi Yoshii. This is a joruri version of the Kabuki play ``Saku Jiraiya Dan'' (author: Tokuzo Chikamatsu), which premiered in September of the 4th year of Bunka (1807). In July of 1863, the series stopped being performed at the central theater after the final performance at Inari Osaka Higashikoya.
It has been handed down at the Awaji-za theater until modern times, and the books of the Awaji Gennojo-za and Ichimura Rokunojo-za theaters still exist. In addition to ``Jiraiya Monogatari,'' the external title is often ``Jiraiya (story) of revenge.'' The third part of the traditional music of Awaji (original ``Jiraiyajuya'') was sung and sung by Machitaro Toyosawa.
[Kozu]
Hanaikada Ganryujima
September 1810: First performance of Araki's play in Osaka. Author Tota Sagawa. The title of the book indicates "Kakusho ``Extension and Supplement'', and as written in the inscription, the same title was first performed at Toyotakeza in Osaka in November 1746 (the author was Ichitori Asada). It is an adaptation of Yashiro Tadami and Raisuke Matsuya).
Although records of re-performances at the center are unknown, it has been handed down at the Awaji-za theater until the modern era, and there are copies of the play at Ichimura Rokunojo-za, Awaji Gennojo-za, etc.
[Kozu]
2. What has been expanded and revised at Awajiza
Makigari of Tokan Fuji (Makigari of Azumakagami Fuji)
Awajiza's original non-performance titles include ``Soga Mukakumidai'', which premiered at Toyotakeza in 1734, and ``Tokan Mikarimaki'', which premiered at Toyotakeza in 1748. A combination of. According to the existing books (the titles of the books are not fixed, and many are simply called "Fuji no Makikari"), the second stage is basically the same as the "Tokan Mikarimaki", and the third stage is the same. Since then, it can be seen that he has modified the lyrics while composing the two works in a complex manner (' AWAJI NINGYÔ JÔRURI (Refer to “Materials Catalog 1: Joruri Books”). However, ``Tokan Fuji no Makigari'' performed at Ueno Genzaemonza at Tokushima Handa in April 1888, judging by the stage names, is almost exactly as in ``Tokan Mikarimaki.'' It is presumed that it is being staged, and it is highly likely that the full-scale arrangement will take place after that time. In that case, ``Tokan Fuji no Makikari'' would originally be a retitle of ``Tokan Mikarimaki,'' or a common name.
As a traditional song, there is a recording of ``Fuji no Makikari Sannokiri'' (by Asanosuke Takemoto and Machitaro Toyosawa), but this is mostly from Sannokiri Street of ``Soga Mukakamidai''. On the other hand, in the Hikita family's joruri book, there is a record written in the 30th year of the Meiji era, ``Higashikan Fuji Makigari/Sandan no Kiri'' (13-01), but this is Sannokiri from ``Higashikan Mikarimaki''. be. This also shows that the two works ('Soga Mukakumidai' and 'Higashikan Gokarimaki') have been handed down separately until modern times.
[Kuhori]
Sakura Himeshizu no Himezakura
First performed at Toyotake-za in the 10th year of the Horeki era (1760), a collaboration between Wakatake Fueman, Toyotake Oritsu, and Nakamura Aki. The only replay by the Chuo Theater Company remains in Ise Furuichi in the year of its first performance, but it can be confirmed that it spread to Inadani Furuta, Shinshu (see Iida City Museum of Art Research Report 2, "Puppet Shows in Ina Valley" (Document Catalog)) In addition, 12 volumes of Awaji Gennojo-za's floor manuscripts are in the collection of the Hyogo Prefectural Museum of History, indicating that the play continued to be performed by Awaji-za after its premiere until modern times.
However, according to the Awaji Gennojo Zatokohon on the right, the text is not the same as the original, and the ``Kodanme mouth'' contains the second part of the ``Jigenji Dochu Gunki'' (premiered at Takemotoza in 1st year of Enkyo). The 4-danme-kiri used in ``Omi Province Gengoro Funa'' (premiered at the Kitahorie Ichi-no-Shiba Toyotake Konokichi-za Theater in 1988) has been revised and used for the ``four-dan-no-kiri.'' Both works are rare to be performed at the center and are attracting attention.
[Kuhori]
Shizugatake Seven Spears
Awajiza's original play title, a combination of "Hiragadake Yukiminojindate" ("Viewing the Snow at Mt. Hiraga"), which premiered at the Dotonbori East Theater in 1786, and "Taikou Gonichi no Hataage" ("Raising the Flag of the Second Part of the Great Triumph"), which premiered at the same theater in 1799. Alternative title: "Taikou Asahi-kazan".
In April 1842, at the Uemura Gennojoza performance in Nikenyaura, Tokushima (Motoki family record), there were performances of ``Daiko Asahikayama Sankiri'', ``Hiratake Sandanme'', and ``Shizugatake Seven Spears''. '' are written separately, and this indicates that up to the eighth volume of ``The Flag of the Second Part (*)'', the third stage of ``Hiratake'', and the ninth volume of ``The Flag of the Second Part (*)'' were performed. Presumed. In other words, ``Daikō Kyokuhanayama'' was originally a retitle of ``Second Part Kiage (*)'', and ``Shizugatake Shichihonyari'' was a common name representing the place of Katsuie seppuku due to sesozori, and after the arrangement became the norm, the entire It is thought that both ``Taiko Asahikazan'' and ``Shizugatake Seven Spears'' were established as titles to express this. According to various records, the title was ``Taikoki Hanayama Shizugatake'' at the Awaji Sumoto Nakamura Kudayuza performance in Leap May, 1857, and September 1865. The Dotonbori Takeda Theater performance at the Kobayashi Rokudayuza Theater was titled ``Shizugatake Shichihonyari Daikoki Rising Flower Mountain,'' and in September 187 (187 Shizugatake 2) the Wakadayu Theater performance at the Nakamura Kudayuza Theater was ``Taiko Asahi'' "Hanayama Shizugatake Shichihonyari Jintate". However, in the "Motoki family record", "Shizugatake" is written in the part that records the performance at the Kamimura Gennojoza in Ansei 4 (1857), so "Shizugatake" was written around this time. It can be assumed that it became a common name. From the latter half of the Meiji period onward, the term ``Shizugatake Seven Spears'' became established (the spelling of ``Yari'' varies, such as ``Yari'' or ``Yari'').
The composition of the arrangement is the same as the third act of "Hiratake," and the rest is mainly based on "Kohhen no Hataage (※)," with some lyrics from "Hiratake." However, the lyrics from the famous "Seisou" (Mountain section) onwards have been rewritten considerably.
*“Haiage” is an old character. [Flag] is “bamboo crown” and “flag” / [lift] is “wind” and “”
[Kuhori]
《Things that have been handed down since modern times in the center, but have been expanded and revised at Awaji-za》
Military Law Fujimi Saigyo (Gunpo Fujimi Saigyo)
First performed at Takemoto-za in 1745, a collaboration between Chiryu Namiki, Hanpei Ogawa, and Koizumo Takeda. In the central region, the tradition ceased after it was performed at the Matsushima Bunraku-za in 1876, but the Awaji-za continued to pass down this work from the first stage to the third stage. In the existing floor manuscript, the first stage of the first stage of ``Kanjo Akoya no Matsu'' is mixed in (Ichi-no-tani) (introductory cut ``Koroseikan no Dan''), and it was performed as a combination. I understand that. Tracing the performance records, it is presumed that the Ichimura Rokunojoza banzuke from the Tenmei to Kansei period was performed according to the original, while the Doguya Taniemonza performance in 1848 was It was performed as a set (according to the Sakai family document), and it is assumed that it was probably revised at the end of the Edo period.
As for the traditional music in Awaji, Sandanmekiri (Eguchi no Sato) was preserved by Machitaro Toyosawa.
[Kuhori]
Girl Kagekiyo Yashima Diary
"The Diary of Ojo Kagekiyo Yashima" was first performed at the Toyotake Theater in 1764. It is a Joruri piece for the memory of Toyotake Echizen Shojo, and is a compilation of tales told by Echizen Shojo during his lifetime. The third act (originally the third act of "Daibutsuden Bandai Sekiso") has been passed down mainly.
The books of this work handed down by Awaji-za include the fourth section of ``Genpei Utorigoe,'' which was premiered at Toyotake-za in 1770. It is not clear when this combination of performances began, but it can be confirmed that this type of performance was performed at the Ichimura Rokunojoza Theater in Handa Village, Tokushima in 1881. In the record of the Hiji play performance in Awaji introduced by Mr. Kanji Niimi, it is written as ``Tenpo Juhai New Year Yoshitsune Ugoe Rigoe (Mama) Sandanme'', and ``Genpei Ugetorigoe'' was handed down at Awajiza as well. It can be inferred that.
In addition, in October 1824, at the Kamimura Hinatajo performance in Shiba Village, Miyoshi District, Tokushima, ``Jokekiyo Yashima Diary Five Stages'' was performed; The second and third rows of ``Matsu'' (first performed in 1995) are inserted (Sakai family document).
Assorted performances are also held at the center, but the arrangement shown on the right can be said to be unique to Awaji.
[Kuhori]
Tamamo-mae Asahi-no-tamoto
The ``Tamamo-mae Akinori'' handed down today is an expanded work that was premiered as a play in the precincts of the Goryo Shrine in Osaka in March 1806, with the words ``Illustrated Book Expansion'' written on the corner calligraphy. It is an adaptation of the work of the same title, which was first performed at the Totakeza Theater in 1751, based on the reader's book ``Ehon Sangoku Yojuden.''
Awaji Puppet Theatre This work was performed in its entirety at the National Theater in 1970, but later it was performed in ``Doshunkan'' (Sannokiri) and ``Nanagake'' (the 5th stage of the original work, ``Keijin Kosei Sesshoseki''). Except for this, the tradition of many dans has disappeared. However, in January 2010, the fourth stage, ``Shinsenen,'' was revived for the first time in about 40 years at a performance at the Hyogo Arts Center. This work was revived as a bunraku in 1974 and 1982, but ``Shinsenen'' and ``Keijikosho Sesshoseki'' were adapted from the Awaji version's script, which differs from the original in some parts. be.
It is not clear when this difference from the original story arose, but for example, in ``Shinsenen'', the scene where the real (human) Tamamo-mae and the fox were swapped, which was not depicted in the original story, was made into a scene, and it was added to the first half of the stage. You can see some pretty big changes. Although ``Nanagake'' is basically based on the original work, it also includes original lyrics. ``Nanagake'' refers to seven changes, or a quick change of seven roles. In Osaka, it is often written in the banzuke as ``...early change of roles,'' but at Awajiza, it was especially common to refer to the change of the fox as ``...gake.'' The rapid change of puppets in ``Tamamo-zen-ketsu'' was popular not only at the Awaji-za theater but also in Osaka, but it has been handed down as a special highlight at the Awaji-za theater where puppets are the main focus, and when people say ``Nanagake'', they mainly refer to this production. It became so.
However, as mentioned above, ``Nanagake'' is originally a production name, so it is not limited to ``Keijito Kosei Sesshoseki'', but also shows the same quick change of 7 roles in other stages of the same work (``Shinsenen'', ``Corridor'', etc.) There is also an example of another work, ``Kijō Kokura no Shikishi,'' in which he played ``Miyoshi Kitsune Shichikake 23-degree quick change'' (September, 1999, Yoshikawa Yasugoroza). In addition, it was not limited to the seven roles, but was sometimes ``twelve-bake-hayakari'' (September 1999, Yoshida Denjiroza's ``Tamamo-mae-kagi'' and ``Taikai-keigoto'').
[Kuhori]
Live photo morning glory story (Ikiutsushi morning glory story)
This work, written by Kazanko Yamada, is believed to have been performed unfinished at the first performance at the Osaka Inari company play on New Year's Day, 1832. Eighteen years later, in the third year of Kaei (1850), the original version of ``Hosei Shacho Story'' was published, and in this enlarged stage, the owner of Suishoen wrote the portion corresponding to the fifth stage (``Karisaki Azuma's ``Rochikusa'' and ``Komazawa Kamiyaku'') have been expanded. However, Awaji-za had performed the 5th stage of this work (``Michigyo'' and ``Komazawa Yashiki'') in Awa and Kii during the Koka period before the publication of the original version, and the original version rather appropriated the Awaji-za performance lyrics section. It is estimated that
A major feature of the Awaji version of ``Michiyuki'' is that the destination is Kamakura, and Miyuki and Sekisuke head east along the Tokaido, contrary to the original version of ``Karisaki Azuma no Michikusa,'' which heads for Osaka. The next scene is originally set in ``Komazawa's Kamakura mansion,'' but the existing copy of ``Shogenba no Dan,'' formerly owned by the Yoshida Denjiro-za, is set in Ouchinosuke's mansion in Kamakura (see the appendix for the above). This was probably modified during the Meiji period.
[Kuhori]
Works created and premiered at Awajiza
《Things premiered in early modern times》
Today's Genji Eastern Army Story (Imayo Genji Azuma Gundan)
The oldest work believed to have been created and premiered by Awaji-za. There aren't many books, but I only know of one manuscript, ``Zen Taiheiki Imayogata,'' and about six board copies of ``Imdai Genji Togundan.'' The entire contents of the five-dan series were known from the Zen Taiheiki Imayogata, which was copied in 1795, and in May 1743, Osaka Takemoto-za premiered `` It is known to be an adaptation of ``Tanshu Jidakuri''. ``Modern Genji Eastern Army Story'' is a publication with the fourth danme-no-kiri ``Mizusaku-no-dan'' excerpted.
The earliest record of the performance is ``Ima-sama-Genji Togun-dan'' performed in Echizen in 1771, and it is thought to have been established after 1989 and before 1880. The publication of the extracted version of ``Modern Genji Togundan'' was late, and based on the period of activity and address of the master, it was first published after 1838 (Tenpo 9) and before 1850 (Kaei 3). It can be assumed that this was done. This was the first work to be performed at the Awaji-za Theater, and the first time it was shown at the center.
At Awaji-za, according to Hiroaki Kuhori's ``Organization of early modern Awaji-za premiere Joruri and introduction of Awaji-za performance materials'' (oral presentation by the Theater Research Association), performance records in Tokushima in February 1826. Although it is late, it was probably still alive as a current song until around the time the excerpt on the right was published. Perhaps for this reason, shamisen notation is preserved in some of the excerpts on the right, which is unusual for Awaji-za's traditional music.
There is a reprint of ``Mizusaku no Dan'' in ``Joruri Honshi Kenkyu'' written by Takeo Kozu.
[Kozu]
Futanashima Onna Tenjinki (Futanashima Onna Tenjinki)
It is a joruri adaptation of the memoir novel of the same name, and like ``Entai Higokoma Geta'', it was first performed at the Awajiza Theater at the end of the Edo period. Yoshida Denjiro-za's former collection "Ninajima Onnajinki Yamamotoya Fudan" ( AWAJI NINGYÔ JÔRURI According to a note written by the author (Niimi House Museum, 08-040), it was written at least before April 1855. Also, according to the ranking of the Yoshida Denjiro Theatre's performances of this work, newly collected by the Awaji Ningyo Association in 2005 (Kanzu, estimated to be around 1856-1857), it is highly likely that it was written before the Horeki era. In the intercalary May of 1857 (Ansei 4) at the Nakamura Kyutaya Theatre in Sumoto, it is titled "Augmented Futamatajima Onna Tenjinki" ("Sudai Banashi no Tane"), which suggests that it was written in two stages. Later, the outer titles "Uwajima Onna Tenjinki" and "Uwajima Tenjinki" were established.
It is a dramatization of the family turmoil of the Uwajima Date clan, and depicts the story of Yamabe (Yamamoto) Seibei, a retainer who was assassinated by his evil vassal Ohashi Uzen, until he was enshrined as the Japanese Spirit Daimyojin. The title ``Onna Tenjinki'' comes from the fact that the Yamabe family is a descendant of Michizane Sugawara, and the old mother and wife, who aspired to avenge Seibei, made a prayer at the Mino Yoro Falls, sacrificing their lives, and as a result, the Ohashi gang was struck by lightning. It is based on the content that the enemy will lose his power and take revenge.
[Kuhori]
Kataki Uchihigo no Komageda
This is Awaji-za's new joruri, and is a joruri version of the actual story. Formerly owned by Yoshida Denjiro-za, “Higokoma geta Sashimaya dan” ( AWAJI NINGYÔ JÔRURI The writings in the museum, Niimiya 13-051) confirm that it was established at least before June of Ansei 5 (1858). In addition, a comparison with the actual record shows that it is more likely to have been created before 1852, and it was influenced by "Isha Asagao Monogatari", so it is likely that it was created before 1852. It can be seen that this is true. In Manen 1 (1860), Takemoto Nagakodayu (later Takemoto Yadayu V) participated in the Nakamura Kudayu-za tour as a supporting actor and talked about the second stage of this work. .
The story is based on the true story of Higo Koma geta, and it tells the story of Zenkuro Mukai, a ronin from Banshu, who caused a commotion in Higo, where he was training in swordsmanship, and in the process had his forehead broken with a Koma geta by a samurai from the Higo Hosokawa clan. Based on the circumstances leading up to Zenkuro's later clean-up and the commotion Zenkuro caused, Aoyagi Sashima, who had Zenkuro as his son Gennosuke's swordsmanship instructor, was killed by Yasaka Genjihei and received Zenkuro's help. The story depicts how Gennosuke took revenge on his father. The third and fourth rows are scenes that are not found in the true story, and are created based on the contents of the preceding joruri ``Hakone Reigen Sho Vengeance'' and ``Isha Asagao Story.'' In addition, in the fourth stage, against the backdrop of the flourishing of Kiyomasa's faith (faith that deified Kato Kiyomasa) at the time, Gennosuke Seishokō Shinkō was saved by Kiyomasa's ``Mikage'' when he was about to be attacked. is planned.
[Kuhori]
"Premiered works since the modern era"
Kagoshima War Chronicles / Sino-Japanese War Chronicles /
Yamatogana Hokushin Gunki/Russo-Japanese War Chronicles
During the Meiji period, whenever a major war broke out, the Awaji-za Theater created a performance based on the theme and performed it in various locations. In particular, Awaji Gennojoza (formerly Ueno Genzaemonza, renamed in 1893, Shichiku Gennojoza, renamed again in 1896). It seems that it was popular at Awaji Gennojoza). AWAJI NINGYÔ JÔRURI All of the books in the museum's collection are also from the same collection. "Kagoshima Sensoki" is about the Seinan War, "Nisshin Sensoki" is about the Sino-Japanese War, "Wagana Hokusei Gunki" is about the Boxer Rebellion, and "Nichijo Sensoki" is a stage adaptation of the Russo-Japanese War.
Of these, "Sino-Japanese War Chronicles" takes place around October of 1894, before the end of the war, when new and old theater companies, including Otojiro Kawakami's troupe, co-performed Sino-Japanese war dramas in various places. It was first performed on. Furthermore, the work was expanded the following year in April, when the Treaty of Shimonoseki was concluded and the war ended. The author of the expansion is known to be ``Akamatsu Karasei (Toemon),'' according to a description in the book formerly owned by Shichiku Gennojoza. This person is from Shichiku Village, Tsuna District, and his other works include ``Sarugashima Revenge Monogatari'' (first performed at the Osaka Inariza Theater in October 1899) and ``Shinran Shonin Ichidaiki'' (performed in the former Izumi Province in October of the same year). There are works such as Shichiku Gennojoza's floor copy available at the Hyogo Prefectural Museum of History.
Furthermore, there is a record of the war situation entitled ``Russo-Japanese War Chronicles'' in the Hikita family materials, and it is assumed that such notes were used as materials when writing joruri.
[Kuhori]
Futaba camphor tree
Tokuichiro Nakano, who founded the Awaji Puppet Arts Revival Association, left behind a wartime performance with Osaka's Kanodayu (later known as Shundayu VII, probably Kanodayu, the editor of ``Konokuncho'') as the composer.
v ``Futaba Kusunoki's opinion column'', which was published in November 1935, has ``Kinbaro master work'' (pen name of Navy Vice Admiral Nagao Ogasawara) and ``Ka Although it is listed as ``Composed by Tayu,'' the colophon lists only Tokuichiro Nakano as ``Copyright and Composition Rights Owner'' and ``Publisher.''
After parting ways with Lord Okusunoki (Masashige Kusunoki) at Sakurai Station, his son Masayuki receives news of his father's defeat at Kanshinji Temple in Kawachi Province. The story is that his mother, Hisako, restrained him from committing seppuku, and he later decides to raise an army. In Niimiya 08-090 of the same work, there remains a flyer for the Kobayashi Rokudayuza performance in Tokushima in November 1943. The flyer says that Masashige Kusunoki was highly praised during the Sino-Japanese War and the Pacific War, and was used in wartime education. It was used. Bunraku performed ``Okusunoki'' in April 1939.
[Kozu]
General Nogi
The same work, Toyosawamachi Taro 058-03, says, ``Summer 1945, Original work by His Excellency Lieutenant General Horiuchi, Composed by Kanodayu Takemoto, First performance on February 13, 2013, together with the North Branch Incident at Ebisuza, Numashima Village.'' It is known that it was created in the summer of 1937, as there is a note saying that.
The title of the same work, Niimiya 08-088, says, ``Shogun Nogi's wife return to the stage,'' and on the left side, it says ``Originally written by Lieutenant General Bunjiro Horiuchi, composed by Kanodayu Takemoto.'' The publication records only ``Atsuichiro Nakano'' as the ``copyright owner.''
The story is about Maresuke Nogi, who was appointed as the commander of Zentsuji's 11th Division in Kagawa Prefecture, and was angry at a non-commissioned officer's play as a geisha. He said, ``I made a marriage agreement to save my father from the predicament of caring for him.'' He praises him as a model of a military man, and vows to mediate with him at a later date. The name Danme comes from an incident in which Nogi drove away his wife, who had visited Kanakuraji Temple where he was staying, without even meeting her. The way it ignores the free will of the two women gives a sense of the times.
[Kozu]
A note from a loving mother
At the end of the same work, Niimi-ke 08-094, there are ``Scribe: Takemoto Sumadayu, Nakaasahi-cho, Iyo-gun, Ehime Prefecture, written on June 24th, 1945'', ``Tokushima City Shinei-cho Nite, Uemura Gennojo Kogyo Festival''. It is said to have been established around June 1938, with the title, ``Master Hisakuni Takemoto, Osaka, rehearsing from June 21st and completing the work for ten days''. First performance at Uemura Gennojoza.
However, the timings are set after the "Northern Branch Incident" on July 7, 1945, the Marco Polo Bridge Incident, and "Shanghai Incident" on August 9, 1945, immediately after the Second Shanghai Incident, and the 72nd House of Peers convened in September. There are references to the Diet, but there is no mention of the 73rd Congress in December, so it is thought to have been composed between September and November 1932.
The story begins with Yonejiro Tokuda being called to a gathering and asking his wife, who he divorced six years ago, to take care of his sickly elderly mother. His wife readily agreed, saying, ``Forget about old grudges,'' and ``It is up to the people to protect the enemy.There is no discrimination against anyone.'' When he returned home happily, he found that his old mother had committed suicide, and wrote in the book, ``If I die, I will have no regrets.It will be a blood festival to the God of Reason and War, who will serve the kingdom.A tribute to my little parents.'' He encourages his son, saying, ``Abandon filial piety and be loyal to Taisei-kun.''
Although the content is foolish, there are 20 sentences such as ``The anti-Japanese sentiment is rising in all directions. We are taking challenging actions. Our military is also reluctant to do so. It is now for the self-defense of the Empire. Moreover, it is for the sake of justice and humanity.'' It seems to have been seen even after the latter half of 2010, and it leaves a depressing impression.
[Kozu]
The foundation of Koa (Koua Ishizue)
``The Foundation of Koa,'' published in August 1940, is written by ``Nakano Senmine'', that is, Tokuichiro Nakano, as the title indicates, ``The Foundation of Koa was written by Sakiho Nakano and composed by Kanodayu Takemoto, Osaka.'' This led to an alliance with Kanodayu. However, ``copyright ownership'' refers to Tokuichiro Nakano alone.
The story is about a man who became bankrupt after dabbling in the stock market and is being forced to repay by a loan shark, and his divorced wife happens to come by and saves the day by throwing away her postal savings. When the postmaster, who also happens to meet, urges the two to get back together, the usurer regrets his old evil ways and proposes to close down the business. The postmaster, who was pleased with this, explained the significance of Greater East Asia New Construction, and concluded by saying, ``If you have any questions, please come to the post office. You will never hesitate.'' After reading the book, I get the feeling that he doesn't want to consult anyone because he has ignored his family's poverty up until now.
In the story, a character says, ``If you think that the money you have saved will turn into airplanes, tanks, and bullets.If you think about it, you should buy ten pieces of government bonds.It is the same as if you took one of the heads of enemy soldiers. Isn't that what you mean? I think saving money is the duty of every citizen." A work that makes you think about the dark role that "postal savings" and "national bonds" have played in our country.
[Kozu]