Leiter S.L. Historical Dictionary of Japanese Traditional Theatre
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CHRONOLOGY • xix
1593 Hideyoshi learns 15 or 16 no
ˆ
plays in 50 days from Kurematsu
Shinkuro
ˆ
, Nagoya Castle. Hideyoshi summons all no
ˆ
troupes to Nagoya
Castle, where they and amateurs perform for troops. Tenth month,
Hideyoshi performs 12 shite roles over three days, Imperial Palace.
Also acts kyo
ˆ
gen Mimi Hiki with Ieyasu and Maeda Toshie. Rice sti-
pend system instituted by shogun for benefit of Yamato no
ˆ
troupes.
1594 Five new plays about, and featuring, Hideyoshi perfo rmed at
Osaka Castle. With his backing, all no
ˆ
schools participate in takigi no
ˆ
at Kofuku-ji Temple.
1595 Toyotomi Hidetsugu orders priests from Gosan to begin compi-
lation of excerpts from 102 Konparu troupe scripts.
1597 Hideyoshi performs no
ˆ
at Fushimi Castle at banquet for ambas-
sador from Luzon.
1599 Leaders of no
ˆ
’s four schools perform at memorial service for
Hideyoshi at newly built Toyokuni Shrine; done annually until 1614.
1600 Tokugawa Ieyasu victorious at Battle of Sekigahara. He settles
into Edo Castle. N/KY Torikai So
ˆ
seki publishes Konparu utai bon col-
lection, Kurayama Bon (Kurayama Book).
1601 N/KY Torikai So
ˆ
setsu publishes Konparu school’s utai bon as
gift for Emperor Goyo
ˆ
zei.
1603 Ieyasu establishes Tokugawa shogunate, Edo. N/KY Ie yasu’s
accession honored by three days of no
ˆ
, Nijo
ˆ
Castle, Kyoto. K Izumo no
Okuni and other female performers present kabuki odori and nenbutsu
odori,Shijo
ˆ
, Kyoto; inception of new form of theatre. Soon after,
dances yayako odori, kabuki odori performed in women’s quar ters,
Imperial Palace. Onna kabuki, yu
ˆ
jo kabuki tour provin ces. Wakashu
kabuki appears.
1605
N/KY No
ˆ
performed
at Fushimi Castle to celebrate Tokugawa
Hidetada’s accession to shogunate. All four Yamato schools take part.
1607 N/KY Competitive performance (tachiai no
ˆ
) of Kanze Tadachi-
ka (Kokusetsu) and Konparu Yasuteru, Edo Castle; citizens permitted
to view it. This begins the occasional practice of presenting no
ˆ
to the
townsman class (machiiri no
ˆ
). K Izumo no Okuni performs kabuki at
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xx • CHRONOLOGY
Edo Castle. Kato
ˆ
Kiyomasa views okuni kabuki performances, Kuma-
moto, Kyuˆshuˆ.
1608 B Large crowds view onna kabuki, Shijo
ˆ
, Kyoto. Ieyasu expels
onna kabuki and courtesans from Sunpu.
1609 N/KY All no
ˆ
troupes come under the patronage of Tokugawa
shogunate. K Lord of Wakayama Cast le pu rcha ses kabuki actress as
mistress.
1610 N/KY Kanze Tadachiku (Kokusetsu) runs away night before
performance at Sunpu Castle; Ieyasu’s favoritism toward Umewaka fac-
tion thought to be reason. Sanctions against Tadachiku lifted two years
later. K Lord Date Masamune of Sendai hosts performance of onna
kabuki at his castle. Reconstruction of Nagoya Castle celebrated with
onna kabuki performances.
1612 Christianity banned. K Onna kabuki ledbyIzumonoOkuni
thought to have been performed in women’s quarters, Imperial Palace.
1614 B Jo
ˆ
ruri plays Amida no Munewari and Go-o
ˆ
no Hime very
popular.
1615 Fall of Osaka Castle and end of Toyotomi clan. B Kojo
ˆ
ruri
chanter Sugimura Tango no jo
ˆ
opens puppet theatre in Edo.
1616 K Frequent interaction of English trader Richar d Coc ks wi th
kabuki actresses.
1618 N/KY Kita Shichidayuˆ Cho
ˆ
no
ˆ
of Kongo
ˆ
school becomes promi-
nent, leading to official recognition of Kita as no
ˆ
’s fifth school. Shogun-
ate establishes new system for supporting no
ˆ
and kyo
ˆ
gen actors with
rice stipends. K Onna kabuki at Imperial Palace.
1620 N/KY Genwa Uzuki Bon (Genwa Period Fourth Lunar Month
Book), first utai bon collection
of Kanze school, published; 100 plays
included. Kita Shichidayu
ˆ
Nagano
ˆ
produces four-day subscription no
ˆ
,
Onaribashi, Edo. Kita Shichidayuˆ Nagano
ˆ
becomes independent of
Kongo
ˆ
school. K Around this time, seven Kyoto theatres licensed to
produce kabuki. Unlicensed theatres called koshibai (‘‘little theatres’’).
1623 N/KY No
ˆ
performed at Nijo
ˆ
Castle, Kyoto, to celebrate Toku-
gawa Iemitsu’s accession to shogunate.
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CHRONOLOGY • xxi
1624 B Sekkyo
ˆ
jo
ˆ
ruri (sermonizing jo
ˆ
ruri) popular. K Saruwaka Kan-
zaburo
ˆ
founds Saruwaka-za (Nakamura-za), Edo.
1625 B Kojo
ˆ
ruri chanter Satsuma Jo
ˆ
un moves to Edo from Kamigata;
founds Edo jo
ˆ
ruri. Women chanters popular in Kyoto.
1629 B Female chanters banned. K Female performers banned. Offi-
cial end of onna kabuki. Wakashu kabuki flourishes in its place.
1632 B Puppet plays (ayatsuri shibai) forced to move from central
Edo to Negi-machi. K Nakamura-za ordered to move to Negi-machi.
(Alternative theory: 1635).
1634 N/KY Kita Shichidayu
ˆ
Nagano performs Sekidera Komachi at
Imperial Palace. Only heads of four Yamato schools allowed to perform
this ‘‘secret music,’’ so he is excommunicated from troupe; a year later,
excommunication rescinded. K Murayama Matasaburo
ˆ
founds Muraya-
ma-za, Sakai-cho
ˆ
, Edo.
1635 B Satsuma Koheita of Sakai performs puppet plays, Sakai-cho
ˆ
.
K Nakamura Kanzaburo
ˆ
I participates in celebratory events surround-
ing bringing of shogun’s boat, Ataka-maru, into Edo harbor.
1636 K Managers Nakamura Kanzaburo
ˆ
I and Tayuˆ Hikosaku ad-
monished for luxurious actors’ costumes.
1639 Japan announces policy of national isolation, except for Chinese
and Dutch trade at Nagasaki.
1640 K Reappearance of mixed male and female companies leads to
more severe proscription against it.
1641 N/KY Machiiri no
ˆ
(‘‘townsman’s no
ˆ
’’) at Edo Castle. K Muraya-
ma-za, Nakamura-za burn down. Numerous theatre fires follow over the
years.
1642 N/KY Oldest book of O
ˆ
kura school, Kyo
ˆ
gen no Bon (The Kyo
ˆ
-
gen
Book;
also O
ˆ
kura Toraakira Bon [O
ˆ
kura Toraakira’s Book]), pub-
lished. K Okamura Kohei establishes Yamamura-za, Kobiki-cho
ˆ
, Edo.
Boys dressed as girls and behaving seductively on stage proscribed.
1645 K Kasaya Sankatsu opens first shrine theatre, Shiba Myo
ˆ
jin
Shrine, Edo. Because of proscription against cross-dressed boys, man-
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xxii • CHRONOLOGY
agers receive permission to class actors as male-role specialists (tachiy-
aku) and female-role specialists (onnagata).
1646 N/KY Kanze actor Ko zarubo
ˆ
Kanze Katsuemon publishes
Yonza Yakusha Mokuroku (Record of the Actors in the Four Troupes). K
Nakamura-za builds sajiki gallery. Kasaya Sankatsu jailed for including
women in a production.
1648 K Nakamura-za moves to Sakai-cho
ˆ
. Ichimura-za begins hang-
ing sign on stage pillar naming each scene being performed. Silk cos-
tumes prohibited.
1649 N/KY Shindo
ˆ
school of waki actors publishes 100 texts.
1651 N/KY No
ˆ
at Edo Castle to celebrate Tokugawa Ietsuna’s acces-
sion to shogunate. K Actors of Kanzaburo
ˆ
-za (Nakamura-za) and Hiko-
saku-za (Ichimura-za) perform at Edo Castle for dying shogun Iemitsu.
Theatres ordered to move to upper Sakai-cho
ˆ
.
1652 B Edo kojo
ˆ
ruri chanter Sugiyama Shichiro
ˆ
zaemon honored
with name Tango no jo
ˆ
. K Wakashu kabuki banned; kabuki appears
doo m ed . Murayama- z a be c om e s Ich imur a- za . Matsu mo to Nazaem on
Shibai (later O
ˆ
nishi no Shibai) founded, Do
ˆ
tonbori, Osaka.
1653 K Kabuki permitted to continue as monomane kyo
ˆ
gen zukushi
(‘‘plays based on imitation’’) instead of kabuki. Period of yaro
ˆ
kabuki
begins: actors must shave forelocks and privilege artistry over looks.
1655 K Actors forbidden to be summoned to daimyo
ˆ
homes.
1656 K First book of actor criticism, Yakusha no Uwasa (Actors’
Rumors), published.
1657 K Great Meireki-period fire destroys Edo, burning down all the-
atres; many kojo
ˆ
ruri artists move to Osaka.
1658 K Lord Matsudaira Yamato no Kami begins diary covering 40
years of Edo theatregoing experiences.
1659 B Kinpira jo
ˆ
ruri flourishes in Edo.
1660 N/KY O
ˆ
kura
T
oraakira publishes Waranbegusa. K Morita Taro
ˆ
-
bei founds Morita-za, Kobiki-cho
ˆ
, Edo.
1661 K Government forbids kabuki in Edo outside of Sakai-cho
ˆ
, Fuki-
ya-cho
ˆ
, and Kobiki-cho
ˆ
.
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CHRONOLOGY • xxiii
1662 N/KY System of annual participation in takigi no
ˆ
and Wakami-
ya festival set up, Konparu, Kongo
ˆ
, and Ho
ˆ
sho
ˆ
schools alternate; two
take part every year.
1664 K First multiact play, Fukui Yagozaemon’s Hinin no Adauchi,
Osaka. First kabuki cur tain introduc ed. Onnagata forbiddentowear
wigs; cloth coverings for shaved heads acceptable.
1668 K Strict rules against excess in theatres and costumes; also
against use of curtains or blinds to hide dalliances of actors and specta-
tors in sajiki.
1673 K Ichikawa Danju
ˆ
ro
ˆ
I plays Sakata Kintoki, Shitenno
ˆ
Osana-
dachi, Nakamura-za. May have been first example of kumadori makeup
and aragoto acting (alternate theory: 1685).
1677 K Nakamura-za, Ichimura-za allowed to build roofed corridor
to protect spectators from downpours.
1678 B Legs added to leading male-role puppets by Matsumoto
Jidayuˆ. K Edo actors forbidden to live outside designated theatre dis-
tricts. Sakata To
ˆ
ju
ˆ
ro
ˆ
I’s first appearance as Fujiya Izaemon, in Yu
ˆ
giri
Nagori no Sho
ˆ
gatsu, Osaka; beginning of wagoto style. Ultimately
plays role 18 times.
1680 N/KY No
ˆ
at Edo Castle to celebrate Tokugawa Tsunayoshi’s
accession to shogunate. B Yamamoto Tosa no shojo
ˆ
and Toraya Eikan
perform kojo
ˆ
ruri at Edo Castle. K Tominaga Heibei initiates practice of
printing name of playwright in programs; becomes first known kabuki
playwright.
1681 N/KY Konparu Ryu
ˆ
Utaibon (Konparu School No
ˆ
Plays), first
book clearly noting yowagin and tsuyogin modes of chanting.
1681–85
N/KY Izumi school of kyo
ˆ
gen thought to produce Izumi Ke
Kohon (Old Books of the Izumi Family).
1682 K Ko
ˆ
shoku Kamakura Gonin Onna: previous practice of play-
ing both Soga Goro
ˆ
and Soga Ju
ˆ
ro
ˆ
in aragoto style changed when
Nakamura Shichisaburo
ˆ
I plays Ju
ˆ
ro
ˆ
in wagoto style.
1683 K Osaka courtesan Yamatoya Ichinojo
ˆ
and Goze no Cho
ˆ
emon
commit lovers’ suicide. Two Osaka theatres dramatize story; beginning
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xxiv • CHRONOLOGY
of double suicide (shinju
ˆ
mono) genre. Home kotoba convention (vocal
praise for actors) spreads. Ichimura-za, Nakamura-za burn down in so-
called ‘‘Oshichi fire’’ caused by Yaoya (‘Greengrocer’’) Oshichi, whose
story becomes popular on stage.
1684 B Takemoto Gidayuˆ opens Takemoto-za, Do
ˆ
tonbori, Osaka.
Opens with Chikamatsu Monzaemon’s Shusse Kagekiyo, a great suc-
cess. End of kojo
ˆ
ruri; beginning of shin jo
ˆ
ruri.
1685 K Kinpira Rokujo
ˆ
Kayoi with Ichikawa Danjuˆro
ˆ
I as Sakata
Kintoki in aragoto style; possible birth of aragoto (alternate theory:
1673).
1687 N/KY Shogun Tsunayoshi, enamored of no
ˆ
, patronizes Ho
ˆ
sho
ˆ
troupe and grants many actors samurai status. K Yaro
ˆ
Tachiyaku Butai
O
ˆ
kagami (Great Mirror of the Leading Men’s Stage) criticizes Chika-
matsu for signing his plays. Same book is first actors’ critique to
attempt serious discussion of acting skills, not just actors’ charms. Edo
theatres prohibited from writing ‘‘best in world’’ (tenka ichi) on bill-
boards.
1690 K Shogun’s daughter named Tsuru-hime (Princess Crane):
images of cranes removed from crests (mon) of Ichimura-za and Naka-
mura-za; replaced, respectively, with mandarin orange and ginkgo leaf.
1699 K Chikamatsu’s Keisei Hotoke no Hara, Miyako Mandayu
ˆ
-za,
Kyoto; major hit with two sequels same year. Play of same name in
Osaka as well.
1701 B/K Events occur that lead to Asano (Ako
ˆ
) vendetta. B Takem-
oto Gidayuˆ granted name Chikugo no shojo
ˆ
by imperial family.
1702 B/K Culmination of Asano (Ako
ˆ
) vendetta; inspires numerous
puppet and kabuki plays, as in Kanadehon Chu
ˆ
shingura.
1703 B Chikamatsu moves to Osaka; abandons kabuki for
puppets.
His Sonezaki
Shinju, first puppet sewa mono, Takemoto-za. Based on
recent lovers’ suicide, it begins craze for shinju
ˆ
mono.Tatsumatsu
Hachirobei manipulates puppet in view of audience (dezukai) in one
scene; becomes established convention in 17 05. E xtravaga nt pu ppet
costumes chastised. Toyotake Wakatayuˆ founds Toyotake-za. Rivalr y
between Takemoto-za and Toyotake-za commences.
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CHRONOLOGY • xxv
1704 N/KY Luxurious costumes forbidden. K Word nagauta makes
first appearance in theatre program (banzuke). First record of nagauta
music in Edo theatre. Ichikawa Danju
ˆ
ro
ˆ
I murdered during performance
by fellow actor.
1705 B Takeda Izumo I becomes manager of Takemoto-za. Hachiro-
bei establishes dezukai during Yo
ˆ
mei Tenno
ˆ
Shokunin Kagami. Gidayu
ˆ
initiates degatari convention of chanting in full view.
1706 B Chikamatsu writes first major play about Ako
ˆ
vendetta,
Goban Taiheiki. Takemoto-za.
1708 K Edo’s theatres begin custom of producing annual New Year’s
play about Soga brothers’ revenge. Ebisu Ko
ˆ
musubu Onkami, based on
Chikamatsu’s Tanba no Yosaku; first puppet play adapted for kabuki,
Hayakumoiya Matsudayu
ˆ
-za, Kyoto.
1709 N/KY No
ˆ
at Edo Castle to celebrate Tokugawa Ienobu’s acces-
sion to shogunate. Begins custom of five days of celebratory no
ˆ
for each
shogun’s accession. Ienobu, a fan of no
ˆ
, makes Kita ryu
ˆ
actor Manabe
Akifusa a member of his inner circle.
1712 N/KY Kyo
ˆ
gen actor Sagi Den’emon produces 15-day subscrip-
tion kyo
ˆ
gen, Osaka; subsequently, such performances become custom-
ary there.
1713 N/KY No
ˆ
performed at Edo Castle to celebrate Tokugawa Ietsu-
gu’s accession to shogunate.
1714 B Takemoto Gidayu
ˆ
(Takemoto Chikugo no jo
ˆ
; chanter) dies. K
Ejima-Ikushima incident: secret rendezvous of court lady Ejima with
actor Ikushima Shingoro
ˆ
leads to their punishment and permanent clos-
ing of Yamamura-za. Beginning of edo sanza (‘‘Edo three theatre’’) sys-
tem. Twenty-seven Edo shrine theatres closed down.
1715 B Chik amatsu ’s Kokusenya Kassen, Takemoto-za; smash hit
runs 17
months.
1716 N/KY No
ˆ
performed at Edo Castle to celebrate Tokugawa Ie-
shige’s accession to shogunate. K Kokusenya Kassen, first kabuki ver-
sion, first gidayu
ˆ
bushi-style play adapted for kabuki.Miyako
Mandayu
ˆ
-za, Kyoto. Soon after, Osaka’s O
ˆ
nishi Shibai and Higashi no
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xxvi • CHRONOLOGY
Shibai compete with productions. Begins increasingly frequent practice
of adapting puppet plays for kabuki.
1717 K Kokusenya Kassen produced at all three Edo theatres.
1718 K Permission granted to Edo’s major theatres to add roofs and
build lower side galleries.
1719 B Osaka puppeteer Tatsumatsu Hachirobei and son open Tatsu-
matsu-za, Edo.
1720 B Chikamatsu’s Shinju
ˆ
Ten no Amijima, Takemoto-za.
1721 N/KY Shogunate has 38 families making up the five schools of
no
ˆ
compile accounts of origins, repertory, masks, costumes, etc. Sho-
gun Tokugawa Yoshimune, as part of reforms of laws and procedures,
has compilation called Furenagashi Go-No
ˆ
Kumi (Account of No
ˆ
Per-
formances), made of no
ˆ
performances given in Edo Castle. K Danju
ˆ
ro
ˆ
II’s salary makes him first senryo
ˆ
yakusha (‘‘1,000 ryo
ˆ
actor’’).
1722 B/K Prohibition against shinju
ˆ
mono in puppet theatre and
kabuki.
1723 B Practice of collaborative playwriting (gassaku) begins with
Chikamatsu’s et al.’s O
ˆ
to no Miya Asahi no Yoroi, Takemoto-za. K
Theatres begin to add roofs as fire prevention method . Nakamura-za
uses first mon banzuke (program listing actors with their crests).
1724 B/K Chikamatsu Monzaemon (playwright) dies.
1727 B Setsu no Kuni Nagara Hitobashira employs puppets with
mouths that open and shut, hands that hold things, and eyes that open
and shut. K Danju
ˆ
ro
ˆ
II and O
ˆ
tani Hiroji introduce convention of two
actors rising together on elevator trap (seridashi).
1729 B Puppets whose eyes roll in sockets appear. K First playing of
o
ˆ
zatsuma music on stage.
1730 B Puppets with movable fingers created. K Danjuˆ
ro
ˆ
II
repri-
manded
for wearing silver-painted geta.
1731 B/K Puppeteer Tatsumatsu Hachirobei and brother handle pup-
pets during a kabuki play. K O
ˆ
tani Hiroji creates hikinuki quick-change
costume technique. Edo’s three theatres ordered not to allow passage
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CHRONOLOGY • xxvii
from dressing rooms to side galleries. In Muken Kane Shin Do
ˆ
jo
ˆ
ji, Sega-
wa Kikunojo
ˆ
I begins tradition of kabuki Do
ˆ
jo
ˆ
-ji dances, Nakamura-za.
1734 B Toyo take -za e stab lish es ch ante rs’ pla tfor m (yuka)atstage
left. Three-man system (sannin-zukai) of puppet handling introduced
by Yoshida Bunzaburo
ˆ
, Ashiya Do
ˆ
man O
ˆ
uchi Kagami, Takemoto-za. K
Hanamichi runway permanently established around this time.
1735 B Gidayu
ˆ
II becomes Kazusa no sho
ˆ
jo
ˆ
. K Morita-za suspends
business and Kawarasaki-za takes over in its place; hikae yagura
(‘‘alternate management’’) system begins.
1736 B Puppet eyebrows made to move. K First use of tokiwazu bushi
as theatre dance music, ‘‘Sayo no Nakayama Asamagatake,’’ third act
of Takarabune Bangaku Onna Gosho, Ichimura-za.
1739 B Sashigane rod for manipulating puppet’s left arm introduced.
K Ban on bungo bushi enforced because music said to drive young lov-
ers to double suicide and others to leave home for the priesthood.
1740 K Ichikawa Danzo
ˆ
I dies. Ebizo
ˆ
II (Danju
ˆ
ro
ˆ
II) amazes Osaka
spectators by reciting his tongue-twisting monologue in Uiro
ˆ
Uri back-
wards.
1745 N/KY No
ˆ
performed at Edo Castle in honor of accession of
Tokugawa Ieshige to shogunate. B Natsu Matsuri Naniwa Kagami,
Takemoto-za; first puppet play to use real water and mud for a scene. K
Actors initiate ningyo
ˆ
buri convention in which they perform as pup-
pets. Natsu Matsuri Naniwa Kagami,firstkabuki version, Nakamura
Kiyosaburo
ˆ
-za,
N
akamura Kumetaro
ˆ
-za, Kyoto; followed by simultane-
ous stagings at three Osaka theatres. Kawarasaki-za suspends produc-
tion because of debts; Morita-za settles debts and reopens.
1746 B Takeda Izumo et al.’s Sugawara Denju Tenarai Kagami,
Takemoto-za. K Use of gidayu
ˆ
chanting becomes common in Edo
kabuki. Sugawara Denju Tenarai Kagami, first kabuki version, Naka-
mura Kisesaburo
ˆ
-za, Kyoto; soon produced in Edo and Osaka.
1747 B Yoshitsune Senbon Zakura, Takemoto-za. K Presents to actors
forbidden. Tokiwazu bushi music founded.
1748 B Takeda Izumo et al.’s Kanadehon Chu
ˆ
shingura, Takemoto-
za. Dispute between chanter Yoshida Bunzaburo
ˆ
and chanter Takemoto
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xxviii • CHRONOLOGY
Konotayu
ˆ
during performance; Konotayu
ˆ
departs for Toyotake-za, and
breakdown of fu (‘‘style’’) difference between Toyotake-za and Takemo-
to-za ensues. K Shinnai bushi music founded. Yoshitsune Senbon
Zakura, first kabuki version, Ise no Shibai, Ise; first Edo production,
Nakamura-za. Kanadehon Chu
ˆ
shingura, first kabuki version, Naka no
Shibai.
1749 K Kanadehon Chu
ˆ
shingura, first Edo kabuki production, Mori-
ta-za. Tomimoto bushi music founded.
1752 N/KY Motoakira’s brother, Kanze Shikibu Motohisa, permitted
to establish Kanze Tetsunojo
ˆ
collateral family line.
1753 K Playwright Namiki Sho
ˆ
zo
ˆ
devises large seri (‘‘elevator
trap’’), O
ˆ
nishi no Shibai.
1758 K Namiki Sho
ˆ
zo
ˆ
perfects revolving stage (mawari butai) for
Sanjikokku Yobune no Hajimari, Kado no Shibai.
1760 N/KY No
ˆ
performed at Edo Castle to celebrate Tokugawa
Ieharu’s accession to shogunate.
1761 K Play at Naka no Shibai makes first use of gandogaeshi tech-
nique.
1763 K Children’s kabuki (kodomo shibai) and middle-sized theatres
(chu
ˆ
shibai) flourish, Osaka, Kyoto.
1765 N/KY Kanze Sakon Motoakira publishes Meiwa Kaisei Utai
Bon (Meiwa Revised No
ˆ
Chant Book) , with r adic al mo difications o f
language of 210 no
ˆ
plays; it proves unpopular and is withdrawn a dec-
ade later. B Toyotake-za ends career as puppet theatre and begins to
stage kabuki. End of six-decade rivalry of Toyotake-za and Takemoto-
za. K First use of geza music
room, Nakamura-za.
1766 K Nakamura-za separates seating areas in pit (doma) with rope;
presumed beginning of masu seating system. Kanadehon Chu
ˆ
shingura
revival, Ichimura-za: Kikugoro
ˆ
plays Yuranosuke and Tonase, begin-
ning of multiple role playing (kayaku) convention; Nakamura Nakazo
ˆ
I
revolutionizes interpretation of Sadakuro
ˆ
.
1767 B/K Takemoto-za stops producing puppet plays; stages kabuki
instead.
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