Leiter S.L. Historical Dictionary of Japanese Traditional Theatre
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CHRONOLOGY • xxxix
1919 K Ichikawa Ennosuke II travels to Europe and America.
1921 N/KY No
ˆ
gaku Kyo
ˆ
kai (No
ˆ
and Kyo
ˆ
gen Cooperative Associa-
tion), composed of no
ˆ
and kyo
ˆ
gen actors, established. Umewaka family
excommunicated from Kanze by Kanze Motoshige (later Sakon) and
Umewaka become independent. K Kabuki-za burns down.
1922 N/KY Kongo
ˆ
family opens Kongo
ˆ
Kai Butai, Akasaka, Tokyo.
1923 N/KY Great Kanto
ˆ
Earthquake destroys almost all no
ˆ
theatres
in Tokyo; only three survive, although damaged. Enormous loss of the-
atrical costumes, props, documents, etc. Outdoor performances given at
Hibiya Ongakudo
ˆ
(Hibiya Concert Hall) to comfort populace. K Police
order theatres to produce six-hour programs; theatregoing by large
groups prohibited. All kabuki theatres destroyed in earthquake.
1924 K Various theatres reopen after reconstruction. Ennosuke II
leaves Sho
ˆ
chiku and opens with Shunjuˆ-za company at Asakusa Kan-
non Gekijo
ˆ
.
1925 N/KY No
ˆ
broadcasts begin on Tokyo Broadcasting Corporation
(To
ˆ
kyo
ˆ
Ho
ˆ
so
ˆ
kyoku). K Rebuilt Kabuki-za opens with appearance
resembling current one. Shinbashi Enbujo
ˆ
opens, Chu
ˆ
o
ˆ
-ku, Tokyo.
1926 Taisho
ˆ
period ends; Sho
ˆ
wa period begins. B Bunraku-za at
Goryo
ˆ
burns down.
1927 N/KY Kita school opens theatre in Yotsuya, Tokyo. Izumi Taii-
chiro
ˆ
invited to Los Angeles by Nanka Yo
ˆ
kyoku Kai (Southern Califor-
nia No
ˆ
Association); teaches there until 1928. Gives first American
broadcast of yo
ˆ
kyoku. B Benten-za
in
Osaka becomes temporary home
for bunraku.
1928 N/KY/B/K Tsubouchi Hakushi Kinen Engeki Hakubutsukan
(Dr. Tsubouchi Memorial Theatre Museum) opens, Waseda University,
Tokyo. N/KY Ho
ˆ
sho
ˆ
school builds ferroconcrete Ho
ˆ
sho
ˆ
Kai No
ˆ
gakudo
ˆ
,
Hongo
ˆ
, Tokyo. K Ichimura-za taken over by Sho
ˆ
chiku. Sadanji II takes
troupe to Soviet Russia, kabuki’s first foreign tour.
1929 N/KY Kanze Tetsunojo
ˆ
troupe, associated with Umewaka
school, allowed to rejoin Kanze school. Yamamoto Butai, today’s Sugi-
nami No
ˆ
gakudo
ˆ
, established, Wadabori, Tokyo. B New Bunraku-za
built, Yotsuhashi, Osaka. K Teikoku Gekijo
ˆ
joins Sho
ˆ
chiku chain.
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xl • CHRONOLOGY
1930 N/KY Kanze Yoshiyuki’s family opens no
ˆ
theatre, Kyu
ˆ
ko
ˆ
Kai
Butai (today’s Yarai No
ˆ
gakudo
ˆ
), Ushigome, Tokyo. K To
ˆ
kyo
ˆ
Gekijo
ˆ
opens. Actor Onoe Kikugoro
ˆ
VI founds school for children of actors.
1931 K Kawarasaki Cho
ˆ
ju
ˆ
ro
ˆ
and Nakamura Kan’emon III found left-
ist Zenshin-za.
1932 B Bunraku produces first propagandistic war play, Sanyu
ˆ
shi
Homare no Nikudan. K Ichimura-za, longest surviving kabuki theatre,
ends its history.
1933 N/KY Umewaka Manzaburo
ˆ
’s troupe returns to Kanze school
from Umewaka branch. B Diet passes proposal to protect Bunraku-za.
K Osaka’s Kabuki-za opens.
1934 K Tokyo’s Shin Kabuki-za renamed Shinjuku Dai-ichi Gekijo
ˆ
.
1935 N/KY Ferroconcrete O
ˆ
tsuki no
ˆ
theatre opens in Osaka. K To
ˆ
ho
ˆ
company completes Yuraku-za and begins To
ˆ
ho
ˆ
Gekidan, company of
young stars who abandon Sho
ˆ
chiku.
1936 B Chanter Toyotake Tsubamedayu
ˆ
(later Tsunadayu
ˆ
) and others
break away from Bunraku-za; form short-lived Shingi-za.
1937 Inauguration of Teikoku Geijutsuin (Japan Imperial Arts Acad-
emy; Nihon Geijutsuin [Japan Arts Academy] from 1947). Election to
Academy becomes one of greatest achievements for artists in traditional
performing arts. K Asakusa Kokusai Gekijo
ˆ
opens. Onoe Matsusuke V
dies.
1938 N/KY No
ˆ
gaku Kyo
ˆ
kai merges with No
ˆ
gaku-kai. K To
ˆ
ho
ˆ
Geki-
dan
dissolv
ed; actors return to Sho
ˆ
chiku.
1939 N/KY Ohara Goko
ˆ
censored by police for disrespect to imperial
family. K Nakajima Sho
ˆ
kei (posthumously named Shibajaku V) dies in
battle.
1940 N/KY Sato Seijiro
ˆ
revives headship of Izumi school of kyo
ˆ
gen;
takes name Yamawaki Motoyasu XVIII. K Sho
ˆ
chiku and To
ˆ
ho
ˆ
form
domestic traveling troupes.
1941 N/KY Writings by Zeami in his own hand, along with old writ-
ings of Konparu school, discovered, Nara Prefecture. Shigeyama Kichi-
jiro
ˆ
joins O
ˆ
kura kyo
ˆ
gen family and revives headship; takes name O
ˆ
kura
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CHRONOLOGY • xli
Yataro
ˆ
XXIV. K System of two and a half hour performances instituted
in five major cities. Ministry of Information sponsors domestic touring
of kabuki to raise wartime morale.
1942 B Bunraku produces series of new war plays. K Onoe Kikugoro
ˆ
VI tours to Manchuria as kabuki ambassador. Five theatre magazines
consolidated into one.
1943 N/KY Special events celebrating the 500th anniversar y of
Zeami’s death planned. Circumstances force Yamawaki Motoyasu to
resign as head of Izumi school; successor is Yamawaki Yasuyoshi XIX
(later Izumi Motohide). K Productions limited to four hours a day.
1944 N/KY Wartime conditions cause three publishers to pool
resources with Kita Ryu
ˆ
Utai Bon Kai (Kita School No
ˆ
Text Society)
to create No
ˆ
gaku Shuppansha (No
ˆ
and Kyo
ˆ
gen Publishers). B Bunraku
exempted from wartime closure of first-class theatres. K Nineteen the-
atres closed in major cities. Dai Nihon Haiyuˆ Kyo
ˆ
kai (Greater Japan
Actors’ Association) and Kansai Haiyu
ˆ
Kyo
ˆ
kai (Kansai Area Actors’
Association) united as Nihon HaiyuˆKyo
ˆ
kai (Japan Act ors’ Associa-
tion). Some closed theatres reopen with limit of two and a half hour
performances.
1945 War ends, August 15. Theatrical performances cease for one
week. American Occupation army (GHQ) imposes restrictions on theat-
rical content and imposes policy of antifeudalistic democratization on
the theatre world. N/KY Most urban no
ˆ
theatres destroyed in air raids.
B/K GHQ institutes censorship; bans plays like Meiboku Sendai Hagi,
Sugawara Denju Tenarai Kagami, Kanadehon Chu
ˆ
shingura,etc.,as
too feudalistic. Orders theatres to produce plays inculcating democratic
ideals. B Yotsuhashi Bunraku-za destroyed by bombing. Production
resumes at Asahi Kaikan in July. K Numerous kabuki theatres de-
stroyed by bombs and/or fire. First postwar production, To
ˆ
kyo
ˆ
Gekijo
ˆ
,
September 1, starring Ichikawa Ennosuke II. GHQ halts production of
Sugawara Denju Tenarai Kagami,To
ˆ
kyo
ˆ
Gekijo
ˆ
.
1946
N/KY T
akigi no
ˆ
revived at Kofuku-ji by volunteers. B Yotsu-
hashi Bunraku-za reopens. K To
ˆ
min Gekijo
ˆ
opens, Ueno, Tokyo. Mi-
tsukoshi Hall (Gekijo
ˆ
) opens; becomes important postwar venue.
1947 N/KY Umewaka branch school problem flares up again. B Toy-
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xlii • CHRONOLOGY
otake Ko
ˆ
tsubodayu
ˆ
granted title Yamashiro no sho
ˆ
jo
ˆ
. Emperor makes
first visit to bunraku. Bunraku makes first postwar visit to Tokyo. Pup-
peteers, shamisen players, and chanters address Sho
ˆ
chiku on improve-
ment of labor conditions. K Nagoya’s Misono-za, Tokyo’s Asakusa
Kokusai Gekijo
ˆ
, Osaka’s Kado-za reopened. GHQ eliminates censor-
ship restrictions; Kanadehon Chu
ˆ
shingura gets full-length, all-star
revival, To
ˆ
kyo
ˆ
Gekijo
ˆ
. Emperor and empress view it.
1948 N/KY GHQ intervenes in Umewaka problem; advises on distri-
bution of waki and kyo
ˆ
gen actors and musicians. Women instructors of
no
ˆ
allowed to join No
ˆ
gaku Kyo
ˆ
kai; Kanze school provides first female
instructor. B Artists form two factions in labor dispute. One joins union;
other—Chinami Kai, including more conservative stars—maintains
relationship with Sho
ˆ
chiku. Productions become difficult to arrange.
Chinami Kai gives its first production, December. K Osaka’s Naka-za
reopens. Shinbashi Enbujo
ˆ
reopens. Ichikawa Sho
ˆ
jo
ˆ
Kabuki (Ichikawa
All-Girls’ Kabuki) founded, Toyokawa, Aichi Prefecture.
1949 B No performances at Bunraku-za for nine months. Two fac-
tions give joint performance, Yotsuhashi Bunraku-za, February. Both
factions declare willingness to join new union; ideological division
arises and union faction becomes independent under puppeteer Kiritake
Monju
ˆ
ro
ˆ
II. It performs anywhere but at Bunraku-za. K Entire Zenshin-
za company joins Communist Party. Takechi Tetsuji begins series of
experimental productions known as ‘‘Takechi Kabuki.’’
1950 N/KY Ho
ˆ
sho
ˆ
school’s Suido
ˆ
bashi no
ˆ
theatre in Tokyo reopens.
No
ˆ
gaku Rene
ˆ
ssansu Kai (No
ˆ
and Kyo
ˆ
gen
R
enaissance Society) founded
with young stars of each school; sign of postwar resurgence. B Chinami
Kai occ u p i e s Yot s u ha s h i Bun r a k u - z a. Labor f ac ti on become s r eg ul ar
troupe, Mitsuwa Kai. Establishes Osaka-Tokyo alternating performance
system. Artistic rivalry grows between Chinami Kai and Mitsuwa Kai.
K Meiji-za reopens. Last kabuki performances at To
ˆ
kyo
ˆ
Gekijo
ˆ
.
1951 B Chinami Kai performs in regional theatres and in Osaka and
Tokyo Mitsukoshi Gekijo
ˆ
. K Kabuki-za reopens.
1952 N/KY New program in no
ˆ
studies begins, To
ˆ
kyo
ˆ
Geijutsu Dai-
gaku (Tokyo Art University). Tokyo’s Ho
ˆ
sei University creates No
ˆ
Research Center. GHQ forbids waki and kyo
ˆ
gen actors and musicians
from appearing with Umewaka branch family, making it vir tually
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CHRONOLOGY • xliii
impossible for it to perform. B Bunraku begins reviving abandoned
plays by Chikamatsu.
1953 N/KY Regular television broadcasting by NHK begins, includ-
ing presentations of no
ˆ
. B Bunkazai Hogo Iinkai (Commission for the
Preservation of Cultural Properties) awards both factions with around
500,000 yen. K Emperor and empress visit Kabuki-za for first time.
1954 N/KY Umewaka Rokuro
ˆ
branch family rejoins Kanze school;
dispute with Kanze resolved. First tour to West by no
ˆ
actors, who visit
Venice International Theatre Festival. Subsequently, no
ˆ
and kyo
ˆ
gen
make many foreign tours. No
ˆ
gaku Yo
ˆ
sei Kai (Training Society) created
for waki and kyo
ˆ
gen actors and for no
ˆ
musicians. Kanze Kaikan estab-
lished in Shinjuku, Tokyo. Kyo
ˆ
gen boom begins. B Chinami-kai and
Mitsuwa-kai reunite for annual Ar ts Festival performances, Osaka,
Tokyo. Similar Ar ts Festival performan ces r euni te fa ctio ns an nually
until formal reconciliation effected.
1955 N/KY/B/K Bunkazai Hogo Iinkai establishes Juˆyo
ˆ
Mukei Bun-
kazai Gijutsu Shitei (Impor tant Intangible Cultural Proper ty Ar tistic
Designat io n) syst em; desig ne es named I mp ortant Intang ib le Cultur al
Properties, also known as Ningen Kokuho
ˆ
(Living National Treasures).
The best bunraku, kabuki, kyo
ˆ
gen, and no
ˆ
performers eventually receive
this honor. N/KY Kita No
ˆ
gakudo
ˆ
completed. Zeami’s Shugyoku
Tokuka discovered. B Chinami Kai and Mitsuwa Kai designated Impor-
tant Intangible Cultural Properties. K Ennosuke II leads tour to China;
kabuki’s first postwar foreign tour. To
ˆ
yoko Hall (To
ˆ
yoko Gekijo
ˆ
after
1969) opens, ninth floor of To
ˆ
yoko Department Store, Shibuya, Tokyo.
1956 N/KY Kyo
ˆ
to
ˆ
Kanze
Kaikan
opens, Kyoto. B Puppeteer Yoshida
Bungoro
ˆ
awarded honorar y name Naniwa no jo
ˆ
. New Bunraku-za
opens, Do
ˆ
tonbori, Osaka. Bunraku produces Madame Butterfly (O
ˆ
cho
ˆ
Fujin) and Hamlet. K Osaka’s Naka-za reopens. Ichikawa Sansho
ˆ
V
named Danju
ˆ
ro
ˆ
X posthumously; first Danju
ˆ
ro
ˆ
in half a century.
1957 N/KY No
ˆ
and kyo
ˆ
gen designated Important Intangible Cultural
Properties. No
ˆ
and kyo
ˆ
gen perform in Paris; first foreign performance
for kyo
ˆ
gen. B Both factions give first regular performance together at
Bunraku-za. K Nihon HaiyuˆKyo
ˆ
kai (Japan Actors’ Association) estab-
lished. Meiji-za burns down.
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xliv • CHRONOLOGY
1958 K Meiji-za rebuilt.
1959 N/KY Umewaka No
ˆ
gaku Gakuin Kaikan opens, Nakano-ku,
Tokyo.
1960 N/KY No
ˆ
gaku Kyo
ˆ
kai begins performances of newly written no
ˆ
plays with casts sometimes mixing actors from different schools. K
First tour to United States (New York, Los Angeles, San Francisco).
1961 K Several leading actors, led by Matsumoto Ko
ˆ
shiro
ˆ
VIII, leave
Sho
ˆ
chiku to join To
ˆ
ho
ˆ
. Nagoya’s Misono-za burns down.
1962 N/KY Major exhibit celebrating 600th anniversary of Zeami’s
birth held at Ho
ˆ
sei University. So
ˆ
mei No
ˆ
gakudo
ˆ
, Komegome, Tokyo,
crucial to postwar no
ˆ
, closes. B Selected members of both factions
make first bunraku tour to West: Seattle World’s Fair, Vancouver, Los
Angeles. Sho
ˆ
chiku abandons management of Chinami Kai.
1963 N/KY Events celebrating 600th anniversary of Zeami’s birth
held throughout Japan. Kyo
ˆ
gen’s Shigeyama Yagoro
ˆ
receives name
Zenchiku from head of Konparu school; entire family takes name as
well. B Chinami Kai and Mitsuwa Kai formally reunite under auspices
of new Bunraku Kyo
ˆ
kai (Bunraku Association). Bunraku-za renamed
Asahi-za in August. K Misono-za rebuilt.
1965 N/KY Shigeyama Kichijiro
ˆ
revives lapsed headship of O
ˆ
kura
school of kyo
ˆ
gen and becomes O
ˆ
kura Yataro
ˆ
XXIV. K Kabuki desig-
nated Important Intangible Cultural Property.
1966 N/KY/B/K Kokuritsu Gekijo
ˆ
(National Theatre) opens with
full-length staging of Sugawara Denju Tenarai Kagami. B Bunraku
makes first appearance at Kokuritsu Gekijo
ˆ
,
in
Sho Gekijo
ˆ
(Small The-
atre). K Imperial Theatre reopens.
1967 K Kokuritsu Gekijo
ˆ
begins educational performances for high
school students. Kawarasaki Cho
ˆ
ju
ˆ
ro
ˆ
separates from Zenshin-za; goes
to China. To
ˆ
yoko Hall renovated and renamed To
ˆ
yoko Gekijo
ˆ
. Young
stars Ichikawa Shinnosuke, Onoe Tatsunosuke, and Onoe Kikunosuke
very popular; called the ‘‘three Nosukes boom.’’
1968 K Ennosuke III revives chu
ˆ
nori (‘‘flying’’) for role of fox in Yo-
shitsune Senbon Zakura.
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CHRONOLOGY • xlv
1970 K Kokuritsu Gekijo
ˆ
begins nationally funded training program
for kabuki actors.
1972 N/KY No
ˆ
gaku Shiryo
ˆ
Sentaa (No
ˆ
and Kyo
ˆ
gen Documentation
Center) established, Musashino Joshi Daigaku (Musashino Women’s
University), Tokyo. Kanze No
ˆ
gakudo
ˆ
opens, Shibuya, Tokyo. B Train-
ing system for new artists begins, Kokuritsu Gekijo
ˆ
.
1973 N/KY Kita Roppeita Kinen No
ˆ
gakudo
ˆ
opens, Meguro, Tokyo.
B/K 250th anniversary of Chikamatsu Monzaemon’s death celebrated
by performances of his works.
1974 B/K Kabuki and bunraku offer joint production of Koi Bikyaku
Yamato O
ˆ
rai, Asahi-za, Osaka.
1976 K K a n am a r u - z a , Ko t o h i r a , S hi ko ku , r es to re d; kabuki’s oldest
extant theatre.
1979 N/KY First international symposium on no
ˆ
, ‘‘No
ˆ
in the World,’’
Ho
ˆ
sei University. K Shinbashi Enbujo
ˆ
closed for renovations.
1981 B Kokuritsu Gekijo
ˆ
begins annual February practice of three-
program day for plays by Chikamatsu. K First European conference on
kabuki held, Vienna.
1982 N/KY Ho
ˆ
sei Daigaku No
ˆ
gaku Kenkyu
ˆ
jo (Ho
ˆ
sei University No
ˆ
and Kyo
ˆ
gen Research Center) sponsors revival of Zeami’s Unrin-in;
leads to frequent revivals of rarely produced no
ˆ
and kyo
ˆ
gen plays. B
Shinbashi Enbujo
ˆ
reopens. N
akamura Senjaku II’s Chikamatsu-za
debuts, Kokuritsu Gekijo
ˆ
, with Shinju
ˆ
Ten no Amijima. Z en shin-za
Gekijo
ˆ
opens, Kichijo
ˆ
ji, Tokyo.
1983 N/KY Kokuritsu No
ˆ
gakudo
ˆ
(National No
ˆ
Theatre) opens, Shi-
buya, Tokyo. First organization for kyo
ˆ
gen actors, Kyo
ˆ
gen Kyo
ˆ
gi Kai
(Kyo
ˆ
gen Consultative Society), established.
1984 N/KY Training for waki and kyo
ˆ
gen actors and no
ˆ
musicians
begins, Kokuritsu No
ˆ
gakudo
ˆ
. Takigi no
ˆ
, restored in recent years
throughout countr y, experiences widespread popularity. B Kokuritsu
Bunraku Gekijo
ˆ
(National Bunraku Theatre) opens in Osaka.
1985 N/KY Umewaka Naohiko performs in English-language no
ˆ
play
Drifting Fires by Janet Beichman, music and direction by Richard
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xlvi • CHRONOLOGY
Emmert. K Danju
ˆ
ro
ˆ
XII celebrates name taking during American tour;
first time this ceremony seen abroad.
1986 K Ennosuke III stages first in series of Super Kabuki produc-
tions, Yamato Takeru. Nakamura Kanzaburo
ˆ
XVII in Guinness Book of
World Records for playing 803 roles in career.
1987 N/KY No
ˆ
theatres built in Hikone, Shiga Prefecture (no
ˆ
museum attached); Mita, Hyo
ˆ
go Prefecture; Kanai City, Sado, Niigata
Prefecture; Toyama, Toyama Prefecture; and Nara. K Ko
ˆ
rakukan, old-
style Meiji-period theatre, Akita Prefecture, reopened.
1988 N/KY Uryuˆ No
ˆ
gakudo
ˆ
opens, outdoor venue at Kyoto Junior
Art College; first college to own a no
ˆ
theatre. Izumi Motohide, head of
Izumi school, breaks precedent by bestowing professional status on his
two daughters; first professional kyo
ˆ
gen actresses. No
ˆ
versions of
Shakespeare tragedies visit American colleges. K Kabuki-za celebrates
100th anniversar y. Ennosuke III creates family collection, Ennosuke
Juˆhachiban.
1989 Sho
ˆ
wa period ends; Heisei period begins. N ‘‘Noh and Kyo
ˆ
gen
in the Contemporar y World’’ symposium, Honolulu. Students from
UniversityofHawaii perform no
ˆ
andkyo
ˆ
geninEnglish,Kokuritsu No
ˆ
ga-
kudo
ˆ
. K Ennosuke III produces Ryu
ˆ
-o,mixingkabuki with Beijing
opera, Shinbashi Enbujo
ˆ
;80kabuki actors and 60 Chinese actors partic-
ipate.
1990 N/KY Umewaka Rokuro
ˆ
,O
ˆ
tsuki Bunzo
ˆ
, and others form
No
ˆ
geki
no Za (No
ˆ
Theatre
Company). Richard Emmert’s CD of Noh in
English released.
1991 N/KY Head of Kanze school and his actors establish Kanze
Bunko (Kanze Librar y Foundation) to pres erve no
ˆ
ar tifacts. Kyo
ˆ
gen
versions of Merry Wives of Windsor, Twelfth Night, Taming of the
Shrew, A Midsummer Night’s Dream performed. New no
ˆ
play by Tada
Tomio, Mumyo
ˆ
no I, about brain death and heart transplant, broadcast
on TV. No
ˆ
theatres continue to open around country. K Inspired by
international Shakespeare conference in To kyo, early kabuki adapta-
tions of Shakespeare plays, including Hamlet, produced.
1992 N/KY Typhoon damages ancient no
ˆ
stage (built 1680) set on
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CHRONOLOGY • xlvii
pillars offshore at Itsukushima Shrine, Miyajima. Controversy created
by performance of ‘‘Sanbaso
ˆ
’’ section of Okina by female kyo
ˆ
gen actor;
piece traditionally done only by men.
1993 N/KY Asai No
ˆ
gaku Shiryo
ˆ
kan (Asai Center for No
ˆ
and Kyo
ˆ
gen
Archives) established, Shiga Prefecture. No
ˆ
and kyo
ˆ
gen with great
actors, including Umewaka Rokuro
ˆ
and Shigeyama Sengoro
ˆ
, at Egyp-
tian temple, Metropolitan Museum of Art, New York. Major exhibit on
Kanze headship tours Japan.
1994 N/B/K Japan Foundation sends no
ˆ
, bunraku, kabuki companies
to Europe: each shows its version of Shunkan. N/KY Damaged Miya-
jima stage repaired. Kita school actor Kano Shuu donates no
ˆ
stage from
inn, Kurume, Kyu
ˆ
shu
ˆ
, to Aix-en-Provence, France. No
ˆ
plays and West-
ern operas based on them produced on same programs. K Nakamura
Kankuro
ˆ
V begins annual productions at Theatre Cocoon, Shibuya,
Tokyo. Attempts to re-create premodern kabuki atmosphere, seeking to
attract younger audience: removes front seats for Japanese-style seat-
ing; actors use aisles for entrances and exits.
1995 N/KY Earthquake seriously damages no
ˆ
theatre at Minatogawa
Shrine, Kobe. No
ˆ
Mask Museum, Shizuhara, opens. Izumi Motohide
(head of Izumi school), Ho
ˆ
sho
ˆ
Fusao (head of Ho
ˆ
sho
ˆ
school) dies. N/
K Kabuki-za presents no
ˆ
plays and the kabuki plays they inspired on
same program. K Renovated Misono-za opens.
1996 N/KY So
ˆ
mei no
ˆ
stage
rebuilt
in Kamonyama Park, Yokohama;
named Yokohama No
ˆ
gakudo
ˆ
Kaikan.
1997 N/KY/B/K ‘‘Japanese Theatre in the World’’ exhibit, New York
and Munich. N/KY. Nagoya No
ˆ
gakudo
ˆ
opens on grounds of Nagoya
Castle . Sag i schoo l of kyo
ˆ
gen, once tho ught dead , nam ed Im port ant
Intangible Cultural Property. K Sho
ˆ
chiku-za opens, Do
ˆ
tonbori, Osaka;
replaces Naka-za as Osaka’s prime kabuki venue.
1998 N/KY No
ˆ
performed at Nagano Olympics under slogan
‘‘Nagano Five-Ring No
ˆ
.’’ Among innovative new no
ˆ
plays is Ku
ˆ
kai;
uses gagaku instruments and chorus of 50 priests.
1999 N/KY Increasing number of performances of rarely produced
ro
ˆ
jo mono, no
ˆ
plays about old women, considered among no
ˆ
’s most
PAGE xlvii
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xlviii • CHRONOLOGY
difficult. K Hakata-za, large new kabuki theatre, Fukuoka, Kyu
ˆ
shu
ˆ
,
opens; twice annual performances of kabuki planned.
2000 N/KY Numerous events mark the 600th anniversary of Zeami’s
Kadensho. Kongo
ˆ
No
ˆ
gakudo
ˆ
, Kyoto, closes. K Nakamura Kankuro
ˆ
cre-
ates Heisei Nakamura-za company; builds tent theatre on banks of Sum-
ida River, its interior helps re-create old-time theatregoing atmosphere.
2001 N/KY No
ˆ
selected as part of World Heritage by UNESCO, first
Japanese theatre to be so honored. Increased tendency to revive not only
classics but modern no
ˆ
. Symposium ‘‘No
ˆ
and Kyo
ˆ
gen in the 21st Cen-
tury: 23 Years After the Death of Kanze Hisao’’ draws large attendance,
Waseda Theatre Museum. Celrian Tower No
ˆ
Butai opens, Tokyo.
2002 N/KY Experimental productions include new plays and unusual
revivals, including Hideyoshi ga Mita Sotoba Komachi (Komachi at the
Stupa as Seen by Hideyoshi), Yokohama No
ˆ
gakudo
ˆ
; attempt to re-cre-
ate performance conditions of 16th-century no
ˆ
. K Kabuki-za desig-
nated Tangible Cultural Property.
2003 N/KY Experimental productions of new works include min-
gling kyo
ˆ
gen and no
ˆ
actors, actresses from modern theatre, and so on. B
Bunraku joins UNESCO’s World Heritage. K Kabuki celebrates 400th
anniversary of its creation. The year advertised as ‘‘Kabuki Yonhyaku
Nen’’ (400 Years of Kabuki); plays with historical associations and
showing actors in their greatest roles and those of their predecessors
produced.
2004 K Kankuro
ˆ
V leads tour to New York with Natsu Matsuri Nan-
iwa Kagami in Heisei Nakamura-za tent theatre.
2005 K Nakamura Ganjiro
ˆ
III takes the name Sakata To
ˆ
juˆro
ˆ
IV, reviv-
ing the name after 250 years.
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