桐一葉 / 早稲田大学文化資源データベース

New national dramas—Historical dramas, dance dramas, and creative dramas

Shoyo thought that national dramas suitable for a new era were necessary, and from Meiji 27 (1894) to the following year, released his new historical drama theory in Waseda Bungaku, a literary magazine. Shoyo examined old works and identified three essential conditions for the renewal of historical drama: necessity of scripts, consistency of themes, and description of characters in plays, and published Kiri hitoha as an example fulfilling these conditions. After that, Shoyo continued to publish scripts of new historical dramas such as Makinokata, Hototogisu kojō no rakugetsu , Nagori no hoshizukiyo, and Yoshitoki no saigo.

Kiri hitoha (A single paulownia leaf)

A work depicting the downfall of Hoke (the Toyotomi family) and the suffering of Katagiri Katsumoto, a daimyo (lord).

Taisho 15 (1926) Osaka Naka-za Theater Katagiritei jyoshi yodonokata shinjyo

April Taisho 10 (1921) Meiji-za Theater Chikushozuka yodogimi shinjyo by Torii kiyotada VII, an Ukiyo-e Artist

A modified version of Saseki's draft, which was originally conceived by Shoyo around Meiji 26 (1893).

Showa 7 (1932)

Watanabe Ginnojyo played by Onoe Kikugoro

Chousei shinurashima

Chousei shinurashima was published in Taisho 11 (1922). This work omits the preface of the previous work, Shinkyoku Urashima, which was created with Wagner's operas in mind, consisting of the first half set in Ryugu and the latter half in Suminoe. It also has been modified so that Urashima, who returned home as an old man with white hair, rejuvenates when he opens the tamatebako (a box), and becomes a shinsen, an immortal mountain wizard. The music is comprised mainly of Takemoto, Tokiwazu, Kiyomoto, and Nagauta, with a little Western music added at the final part of the performance. The group dance had a ballet-style ingenuity.

This work omits the preface of the previous work, Shinkyoku Urashima, published by Jitsugyo no Nihon Sha, Ltd. in Taisho 11 (1922). The first half is set in Ryugu and the latter half in Suminoe. It also has been modified so that Urashima, who returned home as an old man with white hair, rejuvenates when he opens the tamatebako (a box), and becomes a shinsen, an immortal mountain wizard. The music is comprised mainly of Takemoto, Tokiwazu, Kiyomoto, and Nagauta, with a little Western music added at the final part of the performance. The group dance had a ballet-style ingenuity.

Urashima to Ryugu otohime, Shinmachi Enbujo theater in Osaka, March of Taisho 11 Costumes worn by geigi (geisha) association in Shinmachi. Stage settings by Fudeya Tokan; costumes, masks, and props by Kubota Kinsen.

Onatsu Kyôran (Onatsu's Madness)

A kabuki dance song that was first performed in Taisho 3 (1914). It was inspired by Ihara Saikaku's Koshoku Gonin Onna (Five Women Who Loved Love) and was repeatedly performed by famous actors.

In Taisho 10 (1921) at the Imperial Theatre, painted by Torii Kiyotada VII

by Tsunashima Seikan

Used during the performance in the Kabuki-za theatre in October 1934 (Showa 9). This was Baiko's last performance as Onatsu, and also the last time for the author, Tsubouchi Shoyo, to see the play.

En no Gyōja

This play is about En no Gyōja, the founder of Shugendo in the Asuka period. It was first published in September 1916 (Taisho 5) under the title Onna Majin, and in May of the following year it was revised and published under the title En no Gyōja.

This is an unpublished manuscript which was intended to be published by Waseda University Press in 1913 (Taisho 2) but was cancelled taking into account internal conflicts in the Literary Society, including the love affair between Shimamura Hogetsu and Matsui Sumako.

A stage photograph of En no Gyōja, shown at the Tsukiji Little Theatre in March 1926 (Taisho 15).

In Taisho 14 (1925), when Shoyo was 67 years old. Shoyo dressed as Enno Ozunu in En no Gyōja.