Takase: Fine Japanese Calligraphy

XI. THE STAGE TODAY

FAMOUS ACTORS OF THE KABUKI SCHOOL

Every theatre of today changes its repertoire at the beginning of each year, and remains open all the year round. About seventy per cent of the plays performed in the large theatres belong to the Kabuki, or are closely related to it. The Kabuki is still the centre of dramatic interest in Japan. Although the theme of the Kabuki has as its background the life of the Edo Period (1603—1868) which is far removed from the life of today, it possesses its own peculiar artistic beauty, preserving the classical forms created by its masters through the ages, and making its appeal through its accumulated treasures of dramatic art. Those who are striving to create a drama for our new age recognize the mistake of those who simply discarded the Kabuki as being too remote from the life of today. With a fresh appreciation of the Kabuki they are taking over some of its elements in their effort to create a new national drama.

Brief reference should here be made to the leading actors of our day. The chief and ablest among them all are the Fifth Utaemon Nakamura (1865—) and the Sixth Baikō Onoye, who was born in 1870 and passed away in November, 1934, as this brochure was being prepared. Both have been famous for

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Photograph from above of a room with a mat floor and dark border strips, sliding screens at the back and a painted branch on the wall at the upper center. At the left a person with a topknot kneels with the hands clasped at the chest; at the center a person in a striped robe sits facing the left beside a low box holding a kettle; at the upper right a man in a dark robe kneels on a cushion. Small boxes with handles stand on the mats, a tall thin stand with a round foot rises at the lower center, and a roofed post and a screen stand at the right. — “Yowa Nasake Ukina no Yokogushi”— a classic Kabuki Drama.
O Tomi by Baikō, Yosaburō by Uzaemon

their female impersonations, appearing several times each year as examples to those who aspire to follow this form of art. The Fifth Utaemon is specially skilled in depicting famous women of history. The Sixth Baikō Onoye played female rôles in plays presenting the social life of the people. Until within a few days of his death he was able to play the part of those still in their youthful female beauty.

The Fifteenth Uzaemon Ichimura (1874—) is a clean-cut master of his art, and despite his advancing years, his impersonations of a young gallant have brought him just fame. He still carries the romantic fragrance of the Kabuki in the Edo Period. He may prove to be the last to preserve this for us.

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Photograph of a wide mat floor rising in steps toward the back. At the upper left a row of men in dark robes with white head bands and white cords crossing the shoulders sit in a row; in front of them a person in a dark robe bows low at the left, and beside them a man in a pale gray robe kneels facing the right. At the right a person with a high dark hair knot, in a long robe richly patterned with flowers and leaves and trimmed with a pale thick border at the hem, one hand on a long staff, and a plain round pale block stands on the floor beside them. A stack of dark low stands stands at the upper right. — Scene from the famous story of “Sugawara the Loyal Courtier.”
Matsuōmaru by Kichiemon, Genzō by Kikugorō,

The Eighth Kōshirō Matsumoto (1870—) is skilled in the part of the villain, an art characteristic of the Ichikawa Family. He is far above all others in the dancing art.

The Second Sadanji Ichikawa (1880—) acts in bold lines, with a manly art. He has won fame in the Kabuki, in such plays as those of Kidō Okamoto, and has, at the same time, a clear understanding of modern drama. In collaboration with the well-known director Kaoru Osanai he opened the Free Theatre, to which we have made reference. In 1928, on invitation, he went to Leningrad and elsewhere, winning great applause for his skilful presentations.

Shōchō Ichikawa (1886—) plays the part of the

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Photograph from above of a raised mat floor in a room with sliding paper screens and dark wooden doors behind. At the center two people in dark robes kneel close together, one bent far forward over a small dark bundle with the other leaning toward them; to the right a heap of dark cloth bundles lies on the mats, and at the left a square recess in the floor, a kettle and a wide conical hat lie near the edge. A potted plant stands at the right edge, and a large pale panel hangs across the top. — “Shinjū Yoi Kōshin” or The Lovers’ Double Suicide, Ganjirō playing the rôle of Hanbei the Hero

wife of the above actor, and by impersonating a beautiful wife has contributed much towards the progress of the classical Kabuki.

The Sixth Kikugorō Onoe (1885—) is skilful in presenting social plays, especially in the newer realistic forms. He is highly regarded as an outstanding stage dancer. It may be claimed that, with all the refinements of his skill, he occupies the highest rank in his dramatic line.

Kichiemon Nakamura (1886—) is not less famous than the Sixth Kikugorō, and has the charm to hold his audiences spellbound with his historical plays.

Ganjirō Nakamura, was born in 1860 and passed away in February, 1935, as this brochure was being

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Photograph of two people with large, dark, upswept hair sitting at either side of a pale table with cut corners, leaning toward each other with their hands raised near their chins. Both wear dark robes with small patterns. On the table stand two cups on saucers and a tall slim vase holding a single bloom. Behind them at the left another person sits at a small table beside a window, and a tall window shows at the upper right. — Rokurō Kitamura (left) and Shōtarō Hanayagi (right) in scene of “Futasuji Michi”

prepared. He was the first actor of the Osaka stage, those mentioned above belonging to Tokyo. He was the most talented exponent of the love plays of Chikamatsu. The Second Fukusuke Nakamura (1875—) and Kwaisha Nakamura (1876—) ably impersonate female characters in co-operation with him.

OTHER WELL-KNOWN ACTORS

In the New Stage, Takeo Kawai (1877—) and Rokurō Kitamura, (1871—) play female parts. Both are highly skilled, one in gay parts, the other in the serious.

Masao Inoue (1882—) has opened up a new field in character acting.

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Photograph of two people kneeling on a mat floor facing each other. At the left a man with a moustache and short dark hair sits on a striped cushion in a dark kimono, holding a dark pot with white flowers in both hands and looking down at it. At the right a woman in a kimono with wide bands of pattern sits looking down toward a large pot of white-flowered plants on the floor in front of her; more pots stand at the lower right. Behind them are plain walls with sliding screens and a window with a lattice at the upper left. — Scene from “Furyō Shōnen no Chichi” or The Father of a Bad Boy.
Masao Inoue (left) and Miss Yaeko Mizutani (right)

After these three we must make mention of Shōtarō Hanayagi (1894—) as a portrayer of spirited female rôles, and outstanding in the younger group.

As for actresses, Yaeko Mizutani (1905—) is the most popular and gifted. She recently attracted considerable attention for her performance in the title rôle of Hamlet, with the well-known actor Sessue Hayakawa as Claudius.

As we close these lists we should not omit mention of the name of Gorō Soganoya (1877—), the well-known comedian, who takes as his creed the dictum that an actor should play his own creations. In this way he is known as a playwright, too.