Leiter S.L. Historical Dictionary of Japanese Traditional Theatre

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NAKAMURA RYU

• 261

ular as a child star in the 1920s, and grew up to become an unusually

versatile actor, despite his small stature. He is recognized as one of

the best kabuki teachers, and played a major role in training actors at

the Kokuritsu Gekijo

school set up in 1970. He also has codirected

kabuki plays produced in the West.

NAKAMURA NAKAZO

. Two lines of kabuki actors, one from Edo

(ﬁve generations) and one from Osaka (four generations). Edo: yago

Sakaeya (Nakazo

I); Masauraya (Nakazo

II); Narijakuya, Maezuruya,

Sakaeya (Nakazo

III); Maezuruya (Nakazo

IV). Osaka: yago

Himej-

iya (Nakazo

I, Nakazo

III); Himejiya, Izutsuya (Nakazo

II).

Nakazo

I (1736–90) took the name in 1761 and gained fame as a

katakiyaku expert. His talent in this ﬁeld led to a 1766 interpretation

of Sadakuro

in Act 5 of Kanadehon Chu

shingura that revolutionized

this role, despite its having only one brief line. Many other of his

acting innovations also remain and are known as nakazo

buri

(‘‘Nakazo

methods’’) (see KATA). In 1785, he became Nakayama

Koju

, with the dance name Shigayama Mansaku VIII. His expertise

in the Shigayama ryu

helped revive that school. His contributions

led to kabuki dance shifting from being an onnagata-dominated form

to one in which tachiyaku took the creative lead. See also BUYO

Nakazo

III (1800–86) worked himself up from lowly status in his

early ﬁfties when cast as Ko

mori Yasu in Yowa Nasake Ukina no

Yokogushi, with which he was ever after associated. He took the

name Nakazo

III in 1865. His homely features made him excellent in

katakiyaku but he also stood out as a dancer and tachimawari spe-

cialist. He assumed the management of the Nakamura-za in

1875,

and

is therefore counted as Nakamura Kanzaburo

XIV, although he

never formally took the name. His autobiographical Temae Miso

(Self-Praise) is well known.

NAKAMURA RYU

. A school of Japanese dance (see BUYO

RYU

HA), two of whose branches (ha) are the Shikan ha and the Tor-

aji ha. The former was founded in the late Edo period by Nakamura

Utaemon III. Utaemon V was the leading kabuki dancer of the early

20th century. Other leaders of the school have included Nakamura

Fukusuke V and its present iemoto, Shikan VII.

The main school was founded in the mid-18th century by Naka-

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262 • NAKAMURA SHICHISABURO

mura Tomiju

I, who was r esponsible for some of the greatest

dance plays, including Shakkyo

and Musume Do

-ji.

NAKAMURA SHICHISABURO

I. Five generations of kabuki

actors. Yago

Nakamuraya. The most famous of the line was Shichi-

saburo

I (1662–1708), one of the greatest stars of the Genroku period

(1688–1704), renowned as the exemplar of the Edo version of

wagoto acting in contrast to Edo contemporary Ichikawa Danju

I’s aragoto acting. He toured to Kyoto in 1698 and impressed local

wagoto idol Sakata To

I by his artistry. He is thought to have

been the ﬁrst actor to play the much-dramatized character Soga Juˆro

in wagoto style, thereby establishing this approach as a tradition fol-

lowed by all later kabuki actors.

NAKAMURA SHIKAN. Seven generations of kabuki actors. Yago

Kagaya (Shikan III); Narikomaya (Shikan IV-Shikan VII). Shikan I

became Nakamura Utaemon III and Shikan II became Utaemon IV.

Shikan IV (1831–99), adopted in 1838 by Utaemon IV, took the

name in 1860 and was soon acknowledged as a major talent, admired

for his great versatility.

Shikan V became Utaemon V and Shikan VI became Utaemon VI.

Shikan VII (1928–), nephew of Utaemon VI, was brought up in

the household of Onoe Kikugoro

VI. In the postwar period, he

became one of the greatest onnagata,beingnamediemoto of the

Nakamura ryu

in 1953. He took the name Shikan VII in 1967. In

1989, he was elected to the Japan Arts Academy.

NAKAMURA TOKIZO

. Five generations of kabuki actors. Yago

Yor-

ozuya. Tokizo

III (1895–1959), brother of Nakamura Kichiemon I

and Nakamura

Kanzaburo

XVII

, took the name in 1916. One of

the great onnagata of his day, he often played wife or mother roles

opposite Kichiemon I. He also excelled at nimaime acting. In 1958,

he was elected to the Nihon Geijutsuin (Japan Arts Academy).

Tokizo

V (1955–), eldest son of Tokizo

IV, became Tokizo

Vin

1981. He is an elegant onnagata.

NAKAMURA TOMIJU

. Five generations of kabuki actors. Yago

Tenno

jiya (Tomiju

I–Tomijuro

II; Tomiju

IV–Tomijuro

V);

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NAKAMURA UTAEMON • 263

Hachimanya (Tomiju

II–Tomijuro III); Otowaya (Tomiju

V).

Tomijuˆro

I (1719–86), third son of Yoshizawa Ayame I, became

Tomiju

I in 1729. He was active as a Kamigata manager-actor

(zamoto), but also played in Edo. One of the great onnagata dance

pioneers, he created works such as Shakkyo

and Musume Do

-ji.He

achieved the highest possible ranking in the 1779 yakusha hyo

banki.

Tomiju

II (1786–1855), also a Kamigata onnagata, took the

name in 1833. In the 1840s, he was banished for two years to Sakai

for violating the Tenpo

reforms sumptuary laws.

Tomiju

IV (1908–60) b ecam e the leadin g onnagata in Osaka

and also devoted a great deal of time to an experimental group, the

Yaguruma-za.

Tomijuˆro

V (1929–), son of Tomijuˆro

IV and traditional dancer

Azuma Tokuho

, is one of today’s top stars, playing all types of male

and female roles, and being a great dancer. He was active in the

experimental Takechi Kabuki of the early 1950s and took part in his

mother’s ‘‘Azuma Kabuki’’ company when it toured the United

States in 1955. He became To miju

V in 1972. He is a Living

National Treasure.

NAKAMURA UTAEMON. Six generations of kabuki actors. Yago

Kagaya (Utaemon I–Utaemon III); Yamatoya (Utaemon II); Nariko-

maya (Utaemon IV–VI). Utaemon I (1714–91), a provincial doctor’s

son, joined a troupe of strolling players, and developed into a great

Kamigata tachiyaku and katakiyaku. He took the name Utaemon I

in 1741, although he changed to Kagaya Kashichi I in 1782. He

wrote

pla

ys as Nakamura Kashichi.

Utaemon III (1778–1813), son of Utaemon I, took the name in

1790 but became Nakamura Shikan I in 1818 before changing back

to Utaemon in 1819. In 1837, Nakamura Shikan II became Utae-

mon III, while the latter became Nakamura Tamasuke I, sometimes

calling himself Nakamura Baigyoku I. He was a highly versatile

actor, excelling in dance as well. His rivalries with Edo’s Bando

Mitsugoro

III and Matsumoto Ko

shiro

V, and Osaka’ s Arashi

Kichisaburo

(later Arashi Rikan I) were legendary. His playwriting

name was Kanazawa Ryu

goku.

Utaemon IV (1796?–1852) moved from Osaka to Edo in 1811 and

joined the household of Utaemon III, becoming Utaemon IV in 1836.

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264 • NAKAMURA-ZA

He had a famous rivalry with Bando

Mitsugoro

IV. Unusually versa-

tile, he was called a kaneru yakusha.

Utaemon V (1865–1940) took the name in 1911. Outstanding in

both male and female roles, he became kabuki’s leading artist fol-

lowing the deaths of Ichikawa Danju

IX and Onoe Kikugoro

He suffered the effects of lead poisoning acquired from white

makeup. Utaemon V founded the Nihon Haiyu

Kyo

kai.

Utaemon VI (1917–2002), son of Utaemon V, joined the house-

hold of Nakamura Kichiemon I in 1940, often playing opposite

him. He became Utaemon VI in 1951. He and Onoe Baiko

VII were

considered the ﬁnest postwar onnagata actors and dancers. In his

later years, he was the most powerful ﬁgure in kabuki. An innovative

artist, he often revived dormant dance pieces. In 1963, he joined the

Nihon Geijutsuin (Japan Arts Academy). He also was a Living

National Treasure.

NAKAMURA-ZA. One of the edo sanza, this was the ﬁrst theatre to

earn an ofﬁcial license (see YAGURA). It opened as the Saruwaka-za

in 1624 under the management of Nakamura (Saruwaka) Kanza-

buro

I. It was originally in the Nakabashi district, now Nihonbashi-

ri, 2-chome. Kanzaburo created its ﬁrst mon, a dancing crane, but

this was later changed to a gingko leaf within an octagonal frame.

Some believe that the theatre moved from Negi-cho

to Go-cho

1634, and then to Sakai-cho

in 1651. Its company played at Edo Cas-

tle in 1651. During the 1660s and 1670s, it was called the Tsuruya

Kanzaburo

-za. It burned down in the great Edo ﬁre of 1657 and was

rebuilt, although it caught ﬁre on many subsequent occasions as well.

Over the years, it became the most authoritative of Edo’s theatres.

When business problems forced it to shut down between 1793 and

1797, the hikae yagura management of the Miyako-za assumed its

license. The managerial line of Kanzaburo

ran the Nakamura-za until

the early Meiji period. In 1841, the government, operating under the

Tenpo

reforms, forced it to move to Saruwaka-cho

. In 1875, the

failing management was taken over from Kanzaburo

XIII by Naka-

mura

Nakazo

III

, after which it was taken over by Morita Kanya

XII and then others. It was renamed the Saruwaka-za, moved to Asa-

kusa’s Shin Torigoe-cho

in 1884, and was called Torigoe-za in 1892.

It burned down for good in 1893. See also O

SHIBAI.

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NAMES • 265

NAKA NO SHIBAI. Also Naka-za, one of the major playhouses (o

shi-

bai) of Osaka’s Do

tonbori district. Founded in 1652 as the Shioya

Kuroemon Shibai, it took its name (‘‘Middle Theatre’’) because it

was between the O

nishi Shibai (‘‘Great Western Theatre’’; see NANI-

WA-ZA) and the Kado no Shibai (‘‘Corner Theatre’’). For some

time after 1934, it was called the Ro

ka-za. It was bombed in 1945 but

reopened in 1948. Despite burning down a number of times, it out-

lasted its rivals and survived until 2000 when closed down by Sho

ch-

iku, who provided the new Sho

chiku-za in its place, after 346 years.

NAMES. Traditional Japanese theatre artists often hold different ‘‘art

names’’ (geimei) during their careers. Actors, for example, may not

only hold several stage names over the years, but may also hold

names for each of the arts they have studied, such as dance, poetry,

playwriting, painting, tea ceremony, etc. In many cases, performers

have used their own poetry name (haimyo

) or that of someone in

their line as the source of a new stage name. All the while, of course,

the individual maintains the private name with which he or she was

born. Assuming an ar t name is rife with formal conventions.

Although no

and kyo

gen actors and musicians also may change their

names in acc ord w ith t heir rising stat us, t he fo llowin g foc uses on

bunraku and kabuki names.

Bunraku chanters are limited to one of two family names—

Takemoto, derived from Takemoto Gidayu

, or Toyot ake, derived

from Toyotake Wakatayu

. Bunraku shamisen players use the fol-

lowing family names: Tsuruzawa, Nozawa, and Toyozawa. ‘‘Sawa’’

(pronounced ‘‘zawa’’ as the second half of a compound word) comes

from Sawazumi Kengyo

, the ﬁrst jo

ruri shamisen player. The two

main puppeteers’ names are Yoshida and Kiritake, which derive,

respectively, from Yoshida Saburobei and Kiritake Kanju

Personal art names in bunraku typically begin with a portion

derived from the stage name of the performer’s master. (This is often,

but not always, followed in kabuki as well.) Later, if the name is

changed, it usually involves taking that of a past performer, with the

present holder’s place in the line designated by an ordinal number.

The more talented the performer, the more distinguished the name he

is allowed to adopt. Some performers hold as many as four or ﬁve

names during their careers.

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266 • NAMI ITA

Chanters at the apex of the profession are sometimes granted by

members of the imperial family the honorary name sufﬁxes of jo

sho

, and daijo

, as in Takemoto Chikugo no jo

(previously Takem-

oto Gidayuˆ)orToyotake Yamashiro no sho

—titles equivalent to

those of highly-placed Edo-period political administrators. The title

gave the performers so honored the right to appear at court. Very few

have ever been thus honored.

Except for such dignitaries, all bunraku chanters’ names end in

either ‘‘tayu

’’ or ‘‘dayu

.’’ The general rule is that names beginning

with one, three, or four syllables take ‘‘dayu

’’ (i.e., Gidayu

and Naga-

todayu

) while names beginning with two syllables take tayu

(i.e.,

Miwatayu

and Sumitayu

). When the ﬁrst part of the name ends in

‘‘n,’’ dayu

is used, as in Gendayu

and Shindayu

Bunraku is much more of a meritocracy than kabuki. Unlike

kabuki, bunraku performers generally are recognized for their talent,

not because of their family connections. Most artists were not born

into bunraku families. A family line of even three generations is rare.

Like kabuki, bunraku has a formal name-taking ceremony (shu

mei), and the giving of a name recognizes the high standard to which

a performer has attained. See also KO

In kabuki, when an actor’s stage name (also called myo

seki) rises

to prominence because its holder is especially gifted, it becomes a

goal for subsequent performers in the line to be considered worthy

of it. This convention dates to Ichikawa Danju

I at the end of

the 17th century. The present holder of the name represents its 12th

generation, while the Nakamura

Kanzaburo

line

has had 17 hold-

ers. Some names fall out of use when too many successors prove

unworthy, while some great names only have two or three genera-

tions of leading actors behind them, like Nakamura Kichiemon,

now in its second manifestation. See also YAGO

NAMI ITA. Kabuki’s ‘‘wave boards,’’ scenic units about three feet long

by a foot high, shaped and painted to resemble waves and used in

waterside scenes, as in Shiokumi. For scenes with ocean backdrops,

as in ‘‘Kumiuchi’’ (Ichinotani Futaba Gunki), waves up to six feet

high are painted on oblong hari mono ﬂats upstage. One type is for

seas and one for rivers. See also SCENERY.

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NAMIKI SO

SUKE (1695–1751) • 267

NAMIKI GOHEI. Four generations of kabuki playwrights, the most

impor tant being Gohei I and III. Gohei I (1747–1808), born and

trained in Osaka and Kyoto, took that name in 1777 when his talents

propelled him to the top of contemporary dramatists. His still-seen

plays from that time included Tenmangu

Natane no Go

ku and San-

mon Gosan no Kiri. In 1794, he moved to Edo, taking with him both

his realistically oriented Kamigata-style dramaturgy and that area’s

approach to arranging a program’s structure. In Edo, where he

earned a large salary, he wrote for Sawamura So

V, Matsumoto

shiro

V, and Ichikawa Danzo

IV. His ﬁrst great Osaka success

came in 1795, when he revised an earlier play as Godairiki Koi no

jime.

Gohei introduced a number of new practices into kabuki, including

apre-kaomise meeting of the entire company at the head play-

wright’s home (see TATA SAKUSHA). Although he returned brieﬂy

to Kamigata in 1799, he ﬁnished his career in Edo.

Gohei III (1790–1855) earned his niche with the script for the

classic matsubame mono Kanjincho

NAMIKI SHO

. Two generations of bunraku and kabuki play-

wrights. Sho

I (1730–73) joined the Toyotake-za in 1750, later

became a kabuki dramatist in 1751, and rose to the top of the Kami-

gata theatre world as the author of around 80 plays. His best plays

were jidai mono and works about otokodate, adding to kabuki plays

many of the complex plot techniques of the puppet theatre. He is rec-

ognized for pioneering the use of the chobo combination borrowed

from bunraku and for creating major technical improvements in

stagecraft,

including

the perfection in 1758 of the mawari butai.

Among his other innovations were the gando

gaeshi, the seri traps,

and the use of real water effects (hon mizu). His plays include Yado-

nashi Danshichi Shigure no Karakasa.

NAMIKI SO

SUKE (1695–1751). Bunraku and kabuki playwright

who left the priesthood to join the Toyotake-za, where his ﬁrst col-

laboration (gassaku), with Nishizawa Ippuˆ and Yasuda Abun,was

in 1726, after he wrote 14 plays with them. He also wrote indepen-

dent plays, including Wada Kassen Onna Maizuru and Hibari Yama

Hime no Suematsu. Another major play from his early period is Kar-

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268 • NANBAN

ukaya Do

shin Tsukushi no Iezuto. His plays from these years reveal

the dark, tragic contradictions in feudal society.

He wrote for Osaka kabuki from 1742 to 1745, after which he

returned to the puppets, under the name Namiki Senryuˆ,atthe

Takemoto-za, where he collaborated on 11 plays in six years. He

and collaborators Takeda Izumo II and Miyoshi Sho

raku helped

bunraku pull ahead of kabuki during these years with a series of great

plays, includ ing t he thre e mas terp iece s, Sugawara Denju Tenarai

Kagami, Kanadehon Chu

shingura, and Yoshitsune Senbon Zakura.

Other classics he worked on include Natsu Matsuri Naniwa Kagami,

Futatsu Cho

cho

Kuruwa Nikki, and Genpei Nunobiki Taki. The Toyo-

take-za thoroughly eclipsed the Takemoto-za during this era because

of these abundantly theatrical, humanly compre hens ive, harmon i-

ously constructed, and richly varied works. His contributions to these

plays are considered their most signiﬁcant.

In 1750, he left the Toyotake-za and rejoined the Takemoto-za,

using the name So

suke again, and he wrote the ﬁrst three acts of Ichi-

notani Futaba Gunki, unﬁnished at his d eath. Many c onsi der h im

Japan’s best dramatist after Chikamatsu Monzaemon.

NANBAN. The theatricalized ‘‘southern barbarian’’ walking style seen

in kabuki and bunraku that requires the character to move each hand

forward when the leg on that side moves forward, as opposed to the

normal method of the hand moving backward when the opposite leg

moves forward. It is seen in many roppo

exits.

NANIWA-ZA. See O

NISHI NO SHIBAI.

NANORI. A term used in kyo

gen, no

, bunraku, and kabuki.Inno

,itis

the ‘‘name-saying’’ sho

dan in which an entering character delivers a

prose speech of self-introduction. Such passages are called kotoba

(‘‘words’’) and are performed only by non-masked (hitamen) charac-

ters (the waki or

the shite in M

ochizuki). When the waki delivers it,

the fue plays an accompaniment called nanoribue.

The entrance of a character at the beginning of a kyo

gen play is

also marked by a nanori, and the place he delivers it is the nanoriza,

whereas in no

it is the jo

za, although a small number of nanori, like

that in Do

-ji, are delivered stage center. Nanori in kyo

gen may be

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NARAKU • 269

performed by the shite or the ado as the case may be. If the character

is a wealthy man or daimyo

, he makes his presentation down center,

but most other kyo

gen characters give their nanori from the nanoriza

near the shite bashira upstage right. The former is called hon nanori

(‘‘p rope r nam e saying’’), the latt er kata nanori (‘‘one-s ided name

saying’’).

In bunraku and kabuki, it occurs when, during a monogatari narra-

tive, the character makes a ‘‘name announcement,’’ revealing his true

self. An example is presented by the supposed stonecutter Midaroku

in ‘‘Kumagai Jinya’’ (Ichinotani Futaba Gunki), when he angrily

laments having rescued the enemy general Yoritomo, which led to

the over throw of the Heike clan, and declares himself the warrior

Yaheibyoe Munekiyo.

NANORIDAI. The small ‘‘name-saying platform’’ that was set up as an

extension of the hanamichi in kabuki theatres of the 1730s or 1740s.

Actors would step onto it to announce the name of the role they were

playing and to deliver various conventionalized speeches. It was gone

by the mid-18th century. See also STAGE: KABUKI; TSURANE.

NARABI DAIMYO

. The ‘‘lined-up daimyo

’’ rows of high-ranking

samurai ofﬁcials that appear in many kabuki jidai mono to form a

background to the action. When courtesans are similarly lined up,

they are narabi keisei, and ladies-in-waiting are narabi koshimoto.

NARAI MONO. The ‘‘advanced practice plays’’ of no

and kyo

gen,

examples of which are found in each no

category. In contrast to the

regular pieces (hira mono) in the repertory, they are considered so

difﬁcult that they can be performed only with a license issued by the

head of the school of no

to which a shite belongs. Several hira mono

exist in alternate (kogaki) versions that place them in this category.

The different schools use their own methods for categorizing the rel-

ative levels of difﬁculty of narai mono.

NARAKU

. The

basement, or ‘‘hell,’’ beneath the kabuki stage and

hanamichi. During the Edo period, this space was dark, dank,

smelly, and fairly low, with an earth ﬂoor, which gave it its name.

The stage above, in contrast, was gokuraku (‘‘paradise’’). It was

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270 • NARI MONO

deepened when the mawari butai mechanism was installed in the late

18th centur y. Today’s version, which also co ntai ns so me dr essi ng

rooms (gakuya), is clean and technologically up-to-date.

NARI MONO. The vast array of specialized percussion and wind

instruments played in the geza in bunraku and kabuki and that are

capable of duplicating the sounds of temple and shrine music, and

festival and folk music. When the term refers to the performance of

these instruments, it is interchangeable with hayashi. Some pieces

may use only one instrument, while others use a variety. The nari

mono music played in the geza may also be called kuromiso ongaku

(‘‘black blinds music’’). See also MISU.

The nari mono musicians are the hayashikata or nari monoshi,a

separate group from the nagauta musicians r esponsible for geza

singing (uta) and shamisen playing (aikata). In addition to the main

nari mono instruments—the kotsuzumi and o

tsuzumi, taiko, fue

types, and o

daiko—there are the numerous accessory leather drums

called daibyo

shi, okido

, gaku taiko, edaiko, uchiwa taiko, mame

taiko; the metal percussion instruments of gongs and bells, such as

the hontsurigane, dora, matsumushi, hitotsugane, so

ban, horego

re,

atarigane, chappa, ekiro,andkin;

the wooden percussion instru-

ments

of mokugyo

, kigane, hyo

shigi, hangi, and binzasara; and the

bamboo instruments of yotsu take and mokkin.

Nari mono are also used to create symbolic versions of many natu-

ral sounds, giving rise to the sounds of rain (ame oto), snow (yuki

oto), wind (kaze oto or kaza oto), water (mizu oto), etc. The drums

used in yama oroshi suggest being deep in the mountains. For scary

effects, there are drum sounds called netori, o

doro,andusudoro,

used when ghosts appear. See also DORODORO.

NATSU KYO

GEN. Also natsu shibai, the ‘‘summer plays’’ produced

by Edo-period kabuki in the hot weather months, beginning on the

seventh day of the seventh month. As the custom grew for leading

actors to go on tour or vacation in the summer, managers at ﬁrst used

the time to prepare their theatres for the upcoming season. In the

1790s, younger actors began to use the time for their own advantage,

giving themselves otherwise unavailable opportunities, and charging

low prices. Some actors came to prominence by this means. The

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