Section 65 Yonin dmei sono ni An alliance of four people then two Translated from http://9326.teacup.

p.com/tachibanaya/bbs/t2/65 by 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 strong and 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 forthright intellectual 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 the intention to interfere was coming from a group of four people. At the public notarys office a bond was signed 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 Theatre manager) A Sequels Sequel of Kabuki Chronology, Volume One Zokuzoku Kabuki Nendaiki Ken and the book by Kimura Kinka () a History of the Modern Theatre Kinsei Gekidan Shi, Kmaz ( - VIII) knew Danjr was part of this alliance and reprimanded him after which he (Danjr ) changed sides. Shikan was angry about that and summoned Baik (Baik) and Kakitsu (). Tamura Nariyoshi tried to mediate and headed 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 and practicable instead to go about your own business . Baik, frequently influenced, joined up with the troupe managed by Yaoz () and went on a provincial tour to Hokkaid (). Two people who were part of this alliance dropped out. Inoues Shikan was clearly and thankfully isolated. At an event that autumn Uzaemons shmei ( - to succeed to anothers professional name. At the time 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 he spoke about his thoughts concerning the achievement

Note: Ichimura Uzaemon XV took that name in October 1903 at the Kabukiza http://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 persisted in standing up against the issue. Defensive, following Baiks example the close friend consequently found himself disengaging from the affair. Shikans overstated planned resistance had been resourcefully stubborn until the four people alliance turned into two people.

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 already transformed 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 is broken, leaving for the theatre many potentially unpredictable proposals Besides with no support from the other conspirators it (the arrangement) was dead and buried, killed with speeches with Inoue being appeased by Tamuras intervention. That being the case if Kakitsu was only waiting for the one show business shmei hed go to saka because it didnt matter about his recognition. The others from the broken alliance who were in opposition kept their own counsel about their viewpoint 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 the others, 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, remained aloof 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 was greatly 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 actors something that was naturally expected and a matter of course. Rokusabur () san said that in the context of the stage, some argumentativeness was very natural 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 that extent Shikan was an actor whose life was simply exceedingly influential, perhaps because it reflected the life of the stage. On about the 8 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 left Shikan feeling enraged. Uniting with Shikan over the course of the earlier matter, and to honour his dignity, the troupe, for those reasons, left the theatre. Isolated over the matter he gave up his actors permit giving as his reason cessation of business which seems to have been an intention which stemmed from his growing withdrawal. His junior (Uzaemon), who was probably about eight years younger than Kakitsu, ranted at those of lower rank and thought that he ought to be on stage because 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 being inflicted in turn on others and although resigned to the situation he left for saka. Though becoming exceedingly 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 was also exhausted ending with an anecdote about his furious attitude towards the company which was understood to be as a result of (Chjhime Kirare 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, a posthumous 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 to illness. Satomi Ton allude to the boundless charm of this Ichimura style on stage, nearby a pronounced aura wafted around the figure of Uzaemon. When this above mentioned quote from The Uzaemon Legendwas written it was probably 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 play Yuki no ybei Iraya no Azemichi A Path in Iriya with Snow at Night at the Kabukiza in April 1910 (434). The very old photograph taken of Kakitsu from the collection of the couple shown is certified as genuinely attributed to that particular season. Shikans Onna Shibaraku was taken about January 1907 (401) at the Kabukiza. At the time Uzaemon performed as Todorokibo Shinsai ( in Onna Shibaraku), Inoue retired and passed away, and kchi Terutake ( President of the Kabukiza) in his management capacity undertook a reformation of the Kabukiza It was decided that in the circumstance Shikan as zagashira (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 and Tossh () played Yoshitsune (). Shikans prominence was appreciated as outstanding, as was Komazs magnificence, Uza and Baiks affectionate joie de vivre was, it seems, irresistible. In the photographs from this occasion Shikan 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 of the Taish period and the early days of the Shwa period. Even though all the photographs are rather similar the style of each is the only thing needed to get a feel for each persons character which, in the 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 be public domain according to article 23 of old copyright law of Japan and article 2 of supplemental provision of copyright law of Japan