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Section 65

Yonin dmei sono niAn alliance of four people then two

Translated fromhttp://9326.teacup.com/tachibanaya/bbs/t2/65by Trevor Skingle

Shikan V (), later Utaemon V () was the foremost senior actor whose risky

and difficult style came down from an earlier age. In the Kabuki world of the late Meiji () to the

early Showa period () he was the most prominent influential figure to the degree that he was

referred to as Emperor . Needless to say Danjr ( - IX) was still going strongand was in excellent physical condition. Posthumously it was agreed amongst his friends (especially

the members of Naritaya -) amongst whom it was felt that he was a forthrightintellectual who planned and upheld an intention of almost unlimited risk which, it was felt, he

accomplished after some disagreement with Inoue (Takejir, Director of the Kabukiza).

It was uncertain from where outside this guild the influence came from though it was revealed that theintention to interfere was coming from a group of four people. At the public notary s office a bond wassigned and then a young popular star actor succeeded to the stage, appearing along with four others.People talked about this affair though were unable to guess the details about the circumstances

surrounding the birth. According to the book by Tamura Nariyoshi ( Kabuki Theatremanager) A Sequels Sequel of Kabuki Chronology, Volume One Zokuzoku Kabuki Nendaiki Kenand the book by Kimura Kinka () a History of the ModernTheatre Kinsei Gekidan Shi, Kmaz ( - VIII) knew Danjr was partof this alliance and reprimanded him after which he (Danjr ) changed sides. Shikan was angryabout that and summoned Baik (Baik) and Kakitsu (). Tamura Nariyoshi tried to mediate andheaded towards saka where the affair which he was concerned about was underway. Inoue,

pretending to be strongly one sided said, Its OK if you dont want to go. It would be alright andpracticable instead to go about your own business.Baik, frequently influenced, joined up with the troupe managed by Yaoz () and went on aprovincial tour to Hokkaid (). Two people who were part of this alliance dropped out . InouesShikan was clearly and thankfully isolated.

At an event that autumn Uzaemonsshmei ( - to succeed to anothers professional name. At thetime Uzaemon was Kakitsu VI) seemed mysteriously intriguing, disconcerting then if its true, isnt it?His praiseworthy stage debut was in prearranged performances as Gompachi () in Suzugamori (), and as Chbei () in an on stage announcement (Kj -) it would seem that hespoke about his thoughts concerning the achievement

Note: Ichimura Uzaemon XV took that name in October 1903 at the Kabukizahttp://www.kabuki21.com/uzaemon15.php

Danjr was alleged to have incited Kakitsu and was certainly supposed to have persuaded him,speaking about how it wasnt necessary waiting to consider going to saka .

Kakitsu was compelled to respect his uncle (Onoe Kikugor V) whilst the stubborn Danjr persistedin standing up against the issue. Defensive, following Baiks example the close friend consequently

found himself disengaging from the affair. Shikans overstated planned resistance had beenresourcefully stubborn until the four people alliance turned into two people.

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Not to mention the only natural re-evaluation placed upon the situation by the enhanced influence of

the shmei, founding the dynastys Uzaemon, a course of events which had alreadytransformed the stage.

In the end Shikan ended up completely isolated and indignant.

With the intention to oppose the arrangement, the fellowship that was hidden from the profession isbroken, leaving for the theatre many potentially unpredictable proposalsBesides with no support from the other conspirators it (the arrangement) was dead and buried, killedwith speeches with Inoue being appeased by Tamuras intervention. That being the case if Kakitsuwas only waiting for the one show business shmei hed go to saka because it didnt matter abouthis recognition.

The others from the broken alliance who were in opposition kept their own counsel about theirviewpoint and together with Tamura the stage manager felt confident of the need to re-emerge.

Too much was read into the circumstances. It was recently recalled that aside from Inoue and theothers, the talented and so called entertainment industry legend and theatre director Morita Kanya XII

(), who until just a short time before had a strong influence on the stage, remainedaloof to the situation and what's more he perceived in Shikan the earlier prevailing fashion for being

demanding on stage of the late Dankiku (Ichikawa Danjur IX and Onoe Kikugor V)

At the time Shikan was an actor who was similar to those of the previous generation. As such he wasgreatly determined to take risks on stage and about which he wrote many essays, though it was

unlikely that it would be feasible to be able to work like that. Yaoz () and Gat () ( Nizaemon XI) were two men between whom there was a little rivalry, for actorssomething that was naturally expected and a matter of course.

Rokusabur () san said that in the context of the stage, some argumentativeness was verynatural and not intellectually inferior or a reflection of a mans ability. Besides tough behaviour was

inherited and part and parcel of life show business because it made one think and question. To thatextent Shikan was an actor whose life was simply exceedingly influential, perhaps because it reflectedthe life of the stage.

On about the 8th

August Shikan, Matsusuke (), Kakitsu and others were due to appear on stage in

performances at sakas Kadoza (). Each of the others whod pulled out of the alliance leftShikan feeling enraged. Uniting with Shikan over the course of the earlier matter, and to honour hisdignity, the troupe, for those reasons, left the theatre. Isolated over the matter he gave up his actorspermit giving as his reason cessation of business which seems to have been an intentionwhich stemmed from his growing withdrawal. His junior (Uzaemon), who was probably about eightyears younger than Kakitsu, ranted at those of lower rank and thought that he ought to be on stagebecause it would be strange for him to not have been.

Shikan held local practice events at his home. Whether or not he was prepared to appear to have lost

Kakitsus dignity remained intact and he responded by saying, You, brother, seppuku seppuku

Though Shikan was incensed he couldnt help but finally, and reluctantly, smile, his angry voice beinginflicted in turn on others and although resigned to the situation he left for saka. Though becomingexceedingly angry his surprise departure was seen as malign revenge over the issue. Considered

conceited the Emperor Excellency who was also called Utaemon () left,withdrawing from the situation.

What was said cant entirely discounted, also an opponent with allies Uzaemons unique appeal wasalso exhausted ending with an anecdote about his furious attitude towards the company which was

understood to be as a result of (ChjhimeKirare Yosa (Scarface Yosa) and others being staged at the saka Kadoza, when Kakitsu simply returned to Tky)

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The agreed alliance lingered until an actors permit was exchanged for a bribe, aposthumous record remains of the legal challenge to its validity the other two people protesting about

the lack of a ruling on this. Shikans anger about Uzas () single speech faded away due toillness.

Satomi Ton allude to the boundless charm of this Ichimura style on stage, nearby a

pronounced aura wafted around the figure of Uzaemon. Whenthis above mentioned quote from The Uzaemon Legendwas written it wasprobably due to the imagined natural appearance of youthful vitality and dignity on stage which,

according to Satomi Ton, was produced when encountering a detestable loss.

The photographs show Baiks Michitose (), Uzaemons Naojir () in the second playYuki no ybei Iraya no Azemichi A Path in Iriya with Snow at Night at theKabukiza in April 1910 (434). The very old photograph taken of Kakitsu from the collection ofthe couple shown is certified as genuinely attributed to that particular season. Shikans OnnaShibarakuwas taken about January 1907 (401) at the Kabukiza.

At the time Uzaemon performed as Todorokibo Shinsai ( in Onna Shibaraku), Inoue retiredand passed away, and kchi Terutake ( President of the Kabukiza) in his managementcapacity undertook a reformation of the Kabukiza It was decided that in the circumstance Shikan aszagashira (troupe leader) would have his own way

All the work of the Kabukiza was thoroughly reviewed with the emphasis focused on existing tradition.

In April 1907 Kmaz () played Benkei () (404) in the Kabukizas Kanjinch The Subscription List. Togashi () was of course played by Uzaemon. Kshir V () played the role of Benkei for the first time in June 1906 (396) at the Kabukiza, a

role he played at least 1600 times during his career. At the time Yaoz ()s played Togashi andTossh () played Yoshitsune ().

Shikans prominence was appreciated as outstanding, as was Komazs magnificence, Uza andBaiks affectionate joie de vivre was, it seems, irresistible. In the photographs from this occasionShikan was 41 years old, Kmaz 37 years old, Baik 40 years old, and Uzaemon 36 years old.

In Tky at the time four people were the mainstay and along with Yaoz, Sadanji (), Kikugor(), Kichiemon () were (designated collectively as eight under heaven[hatten shita])

) and they were expected to continue in this way for the Kabuki ofthe Taishperiod and the early days of the Shwa period. Even though all the photographs are rathersimilar the style of each is the only thing needed to get a feel for each persons character which, inthe circumstances, were perhaps assigned to them because they were so well suited to the role.

Photographic images published before December 31st 1956, or photographed before 1946 and not

published for 10 years thereafter, under jurisdiction of the Government of Japan, are considered to bepublic domain according to article 23 of old copyright law of Japan and article 2 of supplemental

provision of copyright law of Japan

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