Leiter S.L. Historical Dictionary of Japanese Traditional Theatre
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CHRONOLOGY • xxix
1769 B Takemoto-za and Toyotake-za revived and stage plays jointly.
Takemoto-za reopens on its own later in year.
1770 B Toyotake-za reopens.
1771 B Matsuya Seishichi creates musical notation for shamisen.
1772 B Takemoto-za goes out of business. K Nakamura-za includes
wooden separations between seating areas (masu) in pit (doma).
1776 N/KY One hundred fifty–play repertory of Kita school pub-
lished. K Collection of writing by Genroku-period actors, Yakusha
Banashi (aka Yakusha Rongo [Actors’ Analects]), published.
1780 K Beginning of danmari convention (alternate theory: 1776).
1782 K Ichimura-za closes because of debt.
1783 K Official pronouncement: michiyuki dances treating lovers’
suicides or indecent situations will bring severe punishment.
1787 N/KY No
ˆ
performed at Edo Castle to celebrate accession of
Tokugawa Ienari to shogunate.
1789 N/KY Shogunate issues regulations against luxury; prohibitions
placed on elaborate no
ˆ
costumes. B Uemura Bunrak uken I p rodu ces
puppet plays, Osaka. Dengakugaeshi technique appears.
1791 K Official disapproval of gorgeous costumes for leads in Sukero-
ku Yukari Botan, Nakamura-za.
1792 K Kawarasaki-za introduces onstage assistants (ko
ˆ
ken) in for-
mal dress (kamishimo) for dances; two-tier platform arrangement (hina-
dan) for onstage musicians perfected.
1793 K Nakamura-za closes because of debts. Miyako-za opens as
hikae yagura producer.
1794 K Theatres begin placing advertising banners (nobori) outside.
1795 K Miyako-za first theatre to remove gabled roof over stage and
supporting pillars (daijin bashira).
1796 K Influence of Osaka playwright Namiki Gohei I on Edo pro-
gramming: standard program now two separate plays; first half (ichi-
banme) jidai mono; second half (nibanme) sewa mono.
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xxx • CHRONOLOGY
1797 B Puppeteers, shamisen players, and chanters band together to
create professional performers’ organization. K Miyako-za closes;
Nakamura-za reopens.
1798 K Morita-za reopens. Ichimura-za reopens. Nakamura Utaemon
II dies. Nakamura Bunshichi II dies.
1799 N/KY Ho
ˆ
sho
ˆ
Eito
ˆ
publishes 210 plays in the Ho
ˆ
sho
ˆ
repertory.
Ho
ˆ
sho
ˆ
school flourishes under Tokugawa Ienari’s patronage.
1800 K Kawarasaki-za reopens; Morita-za closes. Ehon Taiko
ˆ
ki, con-
sidered the last great play of bunraku’s golden age, Kado no Shibai,
Osaka.
1803 B Uemura Bunrakuken opens theatre, Takatsu Shinchi, Osaka.
1804 K Nanboku’s Tenjiku Tokubei Ikoku Banashi,firstofmajor
ghost plays (kaidan mono), Kawarasaki-za.
1805 N/KY O
ˆ
kura school kyo
ˆ
gen actor Kamatani Yasaburo
ˆ
excom-
municated from school for revising traditional business and dialogue.
K Onoe Matsusuke reprimanded for gorgeous costumes.
1809 K More than ten actors j oin company at Ichiya Hachiman
Shrine and mingle with shrine actors; a success until managers at the
major theatres bring suit; practice immediately stopped.
1811 B Uemura Bunrakuken troupe begins producing puppet plays at
theatre on grounds of Inari Shrine, Osaka. Soon various shrine ground
puppet theatres active in Osaka area.
1814 K Morita-za forced to close because of debt. Kiyomoto musical
style founded by Kiyomoto Enjudayu
ˆ
; becomes major form of kabuki
accompaniment.
1816 N/KY Kanze Kiyoakira gives 15-day subscription no
ˆ
at Saiwai-
bashi Gate, Edo. Fire destroys stage and dressing rooms. Performances
begin in ninth month but not completed until ninth month of following
year.
1817 K Nanboku’s Sakura-hime Kuruwa Bunsho
ˆ
, Kawarasaki-za.
During this period, last gabled roofs over stages removed.
1818 K Miyako Dennai resigns from Miyako-za; Miyako-za becomes
Tamagawa-za.
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CHRONOLOGY • xxxi
1819 K Henge mono (‘‘transformation dances’’) flourish; actors play
multiple dance roles using quick changes.
1825 K Nanboku’s To
ˆ
kaido
ˆ
Yotsuya Kaidan on two-day bill combin-
ing it with Kanadehon Chu
ˆ
shingura, Nakamura-za.
1827 K Official warning to Edo’s theatres against lavish costuming.
1829 K Tsuruya Nanboku IV (playwright) dies.
1831 N/KY Kanze Kiyonaga presents subscription no
ˆ
at Sawaibashi
gate, Edo; intended for 15 days but great crowds extend it to 25, addi-
tional performances given sixth month of next year.
1832 B Sho
ˆ
Utsushi Asagao Banashi, Osaka; one of only 19th-cen-
tury puppet plays still produced.
1836 K Kanamaru-za (oldest extant kabuki theatre) opens, Kotohira,
Shikoku. Theatres at Yushima Shrine and Shiba Jinmei Shrine torn
down.
1837 N/KY Command performance of no
ˆ
at Edo Castle to celebrate
accession of Tokugawa Ieyoshi to shogunate. K Actors’ emigration to
other provinces banned; number of travel days limited. Debts force
Morita-za to close; Kawarasaki-za operates in its place.
1839 K Dance Kanda Matsuri, Kawarasaki-za. Rumor that three
actors’ costumes for Kokusenya Kassen, Kawarasaki-za, cost 1,000 ryo
ˆ
lead to official costume inspection.
1840 K First matsubame mono dance play, Kanjincho
ˆ
, Kawarasaki-
za; first official entry in Danju
ˆ
ro
ˆ
line’s Kabuki Ju
ˆ
hachiban collection.
1841 Tenpo
ˆ
reforms begin; sumptuary laws have serious effect on all
theatre genres. B Government bans popular musume jo
ˆ
ruri (women’s
jo
ˆ
ruri). K Edo’s three major theatres ordered to move to Saruwaka-cho
ˆ
in outlying Asakusa. 5,500 ryo
ˆ
provided for the move.
1842 B/K Tenpo
ˆ
reforms ban theatrical performances on shrine and
temple grounds.
B Bunrakuken
troupe
moves to Do
ˆ
tonbori. K Ichi-
mura-za and Nakamura-za begin performances at Saruwaka-cho
ˆ
. Ebizo
ˆ
V punished for using real armor on stage; banished from Edo. Osaka
actors limited to no more than 500 ryo
ˆ
annual salary, among other
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xxxii • CHRONOLOGY
restrictions. Actors forbidden to indulge in luxuries. Actors’ depiction
in illustrated fiction (kusazo
ˆ
shi), woodblock prints, forbidden.
1843 K Kawarasaki-za begins to produce in Saruwaka-cho
ˆ
.
1844 N/KY K Restrictions placed on actors’ daily expenses, income,
etc. Troubles with Nakamura-za chanters lead to cancellation of season
opening show (kaomise) and spring productions (haru kyo
ˆ
gen); season
begins third month.
1847 K Great pilgrimage of theatre and brothel quarters’ personnel to
Narita Temple, with continual par tying in both directions; expenses
reach 1,200 ryo
ˆ
. Double revolving stage (janome mawashi) introduced.
1848 N/KY Ho
ˆ
sho
ˆ
Tomoyuki gives 15-day subscription no
ˆ
, Sujigai
Hashi Gate, near Edo Castle. This is Edo’s final subscription no
ˆ
.
1849 K Ebizo
ˆ
V (Danju
ˆ
ro
ˆ
VII) allowed to return to Edo.
1851 K Joko
ˆ
III’s Higashiyama Sakura no So
ˆ
shi, Nakamura-za; rare
example of play with protest theme.
1853 N/KY No
ˆ
play Coranbiasu (Columbus) written, inspired by
Admiral Perry’s visit to Japan this year.
1854 K Edo’s three theatres burn down; first such fires since theatres
moved to Asakusa. Despite great popularity, Ichikawa Danju
ˆ
ro
ˆ
VIII
kills himself.
1856 B Bunrakuken puppet troupe returns to Inari Shrine, Osaka.
1858 N/KY Tokugawa Iemochi issues final proclamation of Toku-
gawa shogunate on behalf of no
ˆ
performance celebrating shogun’s
accession.
1859 K Okyo
ˆ
gen Gakuya Honsetsu (What Really Happens Back-
stage), illustrated manual of theatrical techniques, published.
1863 B/K Programs combining puppet and kabuki performances pop-
ular.
1866 K Actors of Edo’s three major theatres ordered not to go out in
public without wearing face-hiding sedge hats.
1867 N/KY English diplomat Sir Ernest Satow views kyo
ˆ
gen at
Toku-
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CHRONOLOGY • xxxiii
shima Castle. K Sawamura Tanosuke III has gangrenous right foot
amputated.
1868 End of Edo period; Meiji period commences. Edo becomes
Tokyo. N/KY Sir Ernest Satow views Kongo
ˆ
Tayu
ˆ
in Hachi no Ki,
Kongo
ˆ
no
ˆ
stage. Tokugawa shogunate collapses and all no
ˆ
actors lose
government stipends. K Tanosuke III has right arm amputated by
American doctor, Hepburn. Returns to stage at each of three major the-
atres. Economic problems lead Nakamura-za and Morita-za to produce
collaboratively. Kawarasaki-za manager Kawarasaki Gonnosuke VI
murdered by robber.
1869 N/KY Kanze Kiyotaka and troupe accompany deposed shogun
to Shizuoka. Prince of Wales honored with a performance by Ho
ˆ
sho
ˆ
Kuro
ˆ
, mansion of Kishuˆ clan, Akasaka, Tokyo. K Gonnosuke VII
(Danju
ˆ
ro
ˆ
IX) in Mokuami’s Momoyama Banashi, Ichimura-za; first
intimations of katsureki (‘‘living history’’) style.
1870 N/KY Only Konparu actors perform takigi no
ˆ
at the Wakamiya
Festival. K Sawamura Tanosuke III has left foot amputated.
1871 N/KY Takigi no
ˆ
at Wakamiya Festival ends. Prime Minister
Iwakura Tomomi and other high officials travel to West to examine
Western culture. K Gonnosuke VII (Danju
ˆ
ro
ˆ
IX) gives first perform-
ances under Morita Kanya XII’s management, Morita-za. Debt-ridden,
Ichimura Uzaemon XIV passes Ichimura-za management to Murayama
Matasaburo
ˆ
.
1872 N/KY/K Azuma No
ˆ
Kyo
ˆ
gen company formed in attempt to
combine kabuki with no
ˆ
and kyo
ˆ
gen. N/KY Umewaka Minoru rebuilds
no
ˆ
stage taken from mansion of Aoyama Shimotsuke no Kami in own
home. Performs 10-day subscription no
ˆ
. Kongo
ˆ
T
adaichi
gives 10-day
subscription no
ˆ
; first steps in revival of no
ˆ
performance. Kongo
ˆ
Yuiichi
begins giving monthly performances. Umewaka Rokuro
ˆ
performs no
ˆ
for crown prince of Italy. B Bunraku-za’s t roupe m oves from Inari
shrine to Matsushima, Osaka. B/K Government orders theatre to ‘‘chas-
tise evil and encourage virtue’’ and to not falsify history. Managers and
playwrights of Tokyo’s chief theatres told to avoid immorality in
plays. Performing arts placed under jurisdiction of Ministry of Educa-
tion. Theatres ordered to submit all scripts to Ministry for official clear-
ance prior to production. K Satsuma-za opens, Kyo
ˆ
bashi, Tokyo. Small
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xxxiv • CHRONOLOGY
theatres allowed to produce. Morita Kanya XII moves Morita-za from
Saruwaka-cho
ˆ
to Shintomi-cho
ˆ
, in heart of Tokyo; introduces innova-
tions, including a number of Western seats. Ichimura-za becomes Mura-
yama-za. Tokyo theatres charge admissions tax.
1873 B/K Plays must not show disrespect for imperial household. K
New small theatres c onti nue to app ear. Kawa take Mokuami’ s To
ˆ
kyo
ˆ
Nichi Nichi Shinbun, dramatization of newspaper stor y, opens; first
zangiri mono (‘‘cropped hair play’’).
1874 N/KY Kanze Kiyotaka returns to Tokyo. K Theatres begin list-
ing opening and closing times, prices of galler y seats in programs.
Mokuami’s Kurikaesu Kaika no Fumizuki introduces modern touches
such as butcher shop, barber, and train station. Kawarasaki-za opens,
Shiba, Tokyo. Kawarasaki Sansho
ˆ
VII (Gonnosuke) takes name Ichi-
kawa Danjuˆro
ˆ
IX. Pioneer theatre magazine Gekijo
ˆ
no Kyakushoku
(Theatre Dramatization; later Gekijo
ˆ
Chinpo
ˆ
[Strange News of the The-
atre]) published, Osaka.
1875 K Morita-za becomes Shintomi-za. Limits placed on how much
actors and musicians can earn.
1876 N/KY No
ˆ
performed at Prime Minister Iwakura’s mansion for
imperial family, starring Umewaka Minoru, Ho
ˆ
sho
ˆ
Kuro
ˆ
, etc.
1877 K Shintomi-za opens in temporary quar ters, Shintomi-cho
ˆ
.
Plays begin to dramatize recent civil war.
1878 N/KY Emperor Meiji builds no
ˆ
theatre at Aoyama palace; ges-
ture of filial piety toward Dowager Empress, a lover of no
ˆ
. Six no
ˆ
actors
and one kyo
ˆ
gen actor given court appointments and grant of 3,000 yen
to purchase costumes. B Chanter Toyotake Ko
ˆ
tsubodayuˆ murdered by
angry employee. K Shintomi-za, incorporating Western-style features
and gas lighting inside, reopens. Shintomi-za introduces evening pro-
grams, five hours long. Kanagaki Ro
ˆ
bun coins katsureki geki (‘‘living
history plays’’) to denote historically accurate presentations.
1879 N/KY Ex–U.S. president, U.S. Grant, views no
ˆ
at
residence of
Iw
akura Tomomi; says no
ˆ
must be preserved. B Tsubosaka Reigenki,
Hikoroku-za, given try-out performance; last significant bunraku play
to be written. K Mokuami’s Ningen Banji Kane no Yo no Naka, Shin-
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CHRONOLOGY • xxxv
tomi-za, based on Lytton’s Money; first Japanese play based on Western
source. Prince Heinrich of Germany visits Shintomi-za. President Grant
presents Shintomi-za with a curtain. Mokuami’s Hyo
ˆ
ryu
ˆ
Kidan Seiyo
ˆ
Kabuki, Shintomi-za, employs group of Western actors.
1881 N/KY No
ˆ
gaku Sha (No
ˆ
Association), made up of 62 noble
patrons, established to preserve and develop no
ˆ
. Shiba No
ˆ
gakudo
ˆ
, first
indoor no
ˆ
theatre, opens at Shiba, Tokyo, for public performance.
No
ˆ
gaku becomes familiar term from this time.
1882 N/KY Kita Chiyozo
ˆ
(later Kita Roppeita No
ˆ
shin) succeeds to
headship (so
ˆ
ke) of Kita school at eight, when predecessor forced to step
down for misconduct. General public allowed to join No
ˆ
gaku Sha. K
Regulations for the Control of Theatres promu lgat ed by go vern or of
Tokyo and police department. Ten theatres licensed for Tokyo perform-
ance; limits on number of spectators, performance times, etc. To avoid
creditors, Kanya changes Shintomi-za to Saruwaka-za.
1883 N/KY American Edward Morse becomes pupil of no
ˆ
actor
Umewaka Minoru. B Three artists—chanter Takemoto Koshijidayu
ˆ
II
(later Settsu no daijo
ˆ
), shamisen player Toyozawa Danpei II, and puppe-
teer Yoshida Tamazo
ˆ
I—share leadership of Bunraku-za. K Danju
ˆ
ro
ˆ
IX
forms Kyuˆko Kai (Antiquarian Society) to foster interest in katsureki
plays.
1884 N/KY American Ernest Fenollosa becomes pupil of Umewaka
Minoru. B Bunraku-za moves to Goryo
ˆ
Shrine. Hikoroku-za opens and
begins rivalr y with Bunraku-za. Toyozawa Danpei II abandons Bu n-
raku-za for Hikoroku-za. K Saruwaka-za (Nakamura-za) moves to
Nishi Torigoe-cho
ˆ
, Asakusa.
1885 K Chitose-za opens, Tokyo. Osaka producer Mitamura Kumaki-
chi produces highly popular, low-price theatre at Tokyo’s Haruki-za—
May 1885 to March 1886—under name Shimakuma Shibai. Adaptation
of Shakespeare’s Merchant of Venice as kabuki, Osaka’s Ebisu-za.
Kikugoro
ˆ
V
quarrels
with Kanya XII; joins Chitose-za. Mokuami’s Shi-
senryo
ˆ
Koban no Umenoha, praised for authentic depiction of a prison,
Chitose-za.
1886 K Engeki Kairyo
ˆ
Kai (Theatre Reform Society) founded.
1887 N/KY Shiba No
ˆ
gakudo
ˆ
has financial trouble; No
ˆ
gaku Sha peti-
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xxxvi • CHRONOLOGY
tions Imperial Household Minister for support to prevent no
ˆ
’s demise.
‘‘Some money’’ is provided in response. B Tsubosaka Reigenki, Hikoro-
ku-za; play’s first formal production. K Imperial viewing of kabuki
(tenran geki), starring Danjuˆro
ˆ
IX, Kikugoro
ˆ
V, Sadanji I. Chitose-za
uses indoor theatre lighting. Osaka’s Ebisu-za renamed Ro
ˆ
ka-za; first
production sponsored by Kair yo
ˆ
Gekijo
ˆ
Kaisha (Society for T heatre
Reform).
1888 K Ichimura-za rebuilt, Saruwaka-cho
ˆ
.EngeiKyo
ˆ
fuku Kai
(Society for the Betterment of Entertainment) inaugurated. Reform ori-
ented political drama (so
ˆ
shi shibai) begins at Osaka’s Shinmachi-za;
seed of shinpa genre.
1889 K To
ˆ
kyo
ˆ
Haiyuˆ Kumiai (Tokyo Actors’ Union) established for
licensing of actors and collection of taxes. Kabuki-za opens, Kobiki-
cho
ˆ
, Tokyo. Engei Kyo
ˆ
fuku Kai becomes Nihon Engei Kyo
ˆ
kai (Japan
Entertainment Society); members from literary and theatrical worlds.
1890 N/KY No
ˆ
gaku Sha becomes No
ˆ
gakudo
ˆ
. K Revision of Regula-
tions for the Control of Theatres: 10 major theatres (o
ˆ
gekijo
ˆ
), 21 small
theatres (kogekijo
ˆ
) permitted.
1891 N/KY Nagoya’s Izumi school kyo
ˆ
gen actors found Kyo
ˆ
gen
Kyo
ˆ
do
ˆ
Sha (Kyo
ˆ
gen Cooperative Society).
1892 N/KY Schools of no
ˆ
begin to establish their own indoor theatres
in Tokyo and elsewhere. K Ichimura-za reopens,
Shitaya, Tokyo: Ichi-
kawa Sadanji I manager.
1893 B Hikoroku-za disbands. K Nakamura-za (Shimagoe-za) burns
down and goes out of business; was oldest kabuki theatre. Meiji-za (for-
merly Chitose-za) opens, Nihonbashi, Tokyo; Ichikawa Sadanji I man-
ager. Kawatake Mokuami (playwright) dies.
1894 N/KY No
ˆ
performance raises 1,000 yen for Sino-Japanese War
effort. B Toyozawa Danpei II and other leading artists form Inari com-
pany. K Danjuˆro
ˆ
IX acts with French actress Theo in Fukuchi O
ˆ
chi’s
Tagai no Giwaku, Kabuki-za. Kabuki attempts Sino-Japanese war plays.
1895 N/KY Headship of kyo
ˆ
gen’s Sagi family comes to an end. K
First successful production photograph of kabuki, Shibaraku, Kabuki-
za.
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CHRONOLOGY • xxxvii
1896 N/KY No
ˆ
gakudo
ˆ
becomes No
ˆ
gaku Kai (No
ˆ
and Kyo
ˆ
gen Soci-
ety), with members drawn from general public. Shiba No
ˆ
gakudo
ˆ
becomes its resident theatre.
1897 K To
ˆ
kyo
ˆ
-za opens, Kanda, Tokyo. Nagoya’s Nagoya Gekijo
ˆ
(later Misono-za) opens.
1898 N/KY Grand festival of no
ˆ
at Toyokuni Shrine honoring 300th
anniversar y of Toyotomi Hideyoshi’s death. Ho
ˆ
sho
ˆ
school opens
No
ˆ
gaku Butai, Sarugaku-cho
ˆ
, Tokyo. B Inari troupe ends. K Osaka’s
Kabuki-za opens.
1899 N/KY No
ˆ
criticism flourishes in major newspapers. K First play
by writer outside traditional resident system produced, Matsui Sho
ˆ
o
ˆ
’s
Aku no Genta, Meiji-za. First Japanese film made, showing dance Momi-
jigari, starring Ichikawa Danju
ˆ
ro
ˆ
IX.
1901 N/KY Kanze school opens Kanze Kai O
ˆ
magari No
ˆ
Butai
(Kanze Association O
ˆ
magari No
ˆ
Stage), O
ˆ
magari, Shinjuku, Tokyo.
1902 N/KY Ikeuchi Nobuyoshi founds No
ˆ
gaku-kan (No
ˆ
Club). Shiba
No
ˆ
gakudo
ˆ
moves to Yasukuni Shrine; renamed Kudan No
ˆ
gakudo
ˆ
but
used infrequently thereafter. No
ˆ
gaku Bungaku Kenkyu
ˆ
-kai (Society for
the Study of No
ˆ
Literature) founded. B/K Shirai
Matsujiro
ˆ
and
O
ˆ
tani
Takejiro
ˆ
found Sho
ˆ
chiku production company. K Sho
ˆ
chiku opens
Meiji-za, Kyoto. Haruki-za becomes Hongo-za.
1903 B Chanter Takemoto Koshijidayuˆ honored with name Takemoto
Settsu no daijo
ˆ
. K Onoe Kikugoro
ˆ
V and Ichikawa Danju
ˆ
ro
ˆ
IX die.
1904 N/KY French scholar Noel Peri et al. establish No
ˆ
gaku Kenkyu
ˆ
Kai (No
ˆ
Research Association). K Tsubouchi Sho
ˆ
yo
ˆ
’s Kiri Hitoha, first
shin kabuki play, produced, To
ˆ
kyo
ˆ
-za. Sadanji I institutes reforms in
ticketing system and rehearsals, Meiji-za. Ichikawa Sadanji I dies; end
of Dan-Kiku-Sa trio that ruled Meiji kabuki.
1905 N/KY Kanze Kiyokado performs no
ˆ
before Keijo
ˆ
Castle, Korea,
at opening of Seoul-Pusan Railroad, Korea. Kita Roppeita performs no
ˆ
in Taiwan at shrine festival.
1906 K Sadanji II goes abroad to study Western theatre. Kyoto’s
Minami-za acquired by Sho
ˆ
chiku.
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xxxviii • CHRONOLOGY
1908 N/KY Beginning of epochal publication of revised Kanze utai
bon. Schools of no
ˆ
declare that hencefor th publication of no
ˆ
texts
requires approval of a school’s leader (so
ˆ
ke). K Sadanji II returns from
abroad to found revolutionary management, Meiji-za. Kao
ˆ
maru,by
Hasegawa Shigure, first Japanese woman playwright, Kabuki-za.
1909 N/KY Yo shida To
ˆ
go
ˆ
publishes Zeami’s Zeami Ju
ˆ
rokubu-shu
ˆ
(The Sixteen Treatises of Zeami), discovered in 1908. Maruoka Katsura
completes modern edition of Kanze school’s utai bon. B Sho
ˆ
chiku
acquires ownership of bunraku. K Sadanji II collaborates with Osanai
Kaoru on creating first shingeki (‘‘modern drama’’) theatre, Jiyu
ˆ
Gekijo
ˆ
.
1910 N/KY Kurokawa no
ˆ
visits Tokyo for first time. K Sho
ˆ
chiku
makes incursion into Tokyo; acquires Shintomi-za and Hongo-za; oth-
ers to follow.
1911 N/KY All schools participate in ceremonies honoring 650-year
anniversary of Kyoto’s Nishi-Hongan-ji Temple. Dispute arises regard-
ing desire of Umewaka branch of Kanze school to become independent
and have right to license performers; problem lasts many years. K Tei-
koku Gekijo
ˆ
(Imperial Theatre) opens, Tokyo; first fully Western-style
theatre in Japan. Kabuki-za, renovated in Japanese style, opens.
1912 Meiji period ends; Taisho
ˆ
period begins. N/KY Department of
no
ˆ
music created at To
ˆ
kyo
ˆ
Ongaku Gakko
ˆ
(Tokyo Music School). B
Chikamatsu-za troupe, outgrowth of Hikoroku-za, begins. K Sadanji II
transfers Meiji-za management to II Yo
ˆ
ho
ˆ
; joins Sho
ˆ
chiku.
1914 B Chikamatsu-za fails. K O
ˆ
ta
ni
Takejiro
ˆ
assume s Kab uki-za
management.
1915 N/KY No
ˆ
on new stage at Imperial Palace to honor accession of
Emperor Taisho
ˆ
. No
ˆ
theatre built, Tomihisa-cho
ˆ
, Ushigome, Tokyo, by
Kongo
ˆ
school.
1916 N/KY Headship of kyo
ˆ
gen’s Izumi school ends. Kamakura
No
ˆ
gakudo
ˆ
produces Takahama Kyo
ˆ
shi’s Tetsumon,firstnewno
ˆ
play
since Meiji period. K Sho
ˆ
chiku acquires Meiji-za.
1917 B New Bunraku-za opens, Goryo
ˆ
Shrine compound.
1918 N/KY No
ˆ
theatre opens at residence of Marquis Hosokawa; used
by Konparu school
PAGE xxxviii
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