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2871217 Daiku kai (Heisei 2 nen 8 gatsu 7 hi, 12 ji 17 ji kaien) Kokuritsu Gekij National Theatre Dent Kabuki Hozon

on Kai Kabuki Preservation Society 9th occurrence (7th August 1990, 12 oclock 5pm showing) Sagi Musume Heron Maiden Onoe Kikunoj Sagi no sei Herons spirit Nagauta Hayashi Rench Nagauta Orchastra Company Furitsuke Choreography Onoe Umenosuke

Kuruwa Bunko Shikishima Monogatari Licensed Quarter Collection Shikishimas Story Jomaku (prologue) Kawatake Mokuami Kawatake Toshio Mochida Ry

Yomaku Rokuba Four acts Six scenes

= saku (writer) = kansh (editor) = budai enshutsu (theatre direction)

Yoshiwara Miura ya hiroma no ba The rear room in the Miura shop in Yoshiwara D (ibid.) Nikai heya no ba (upstairs room) Kumoi heya no ba Kumois room Monooki seki ba no ba Warehouse duty

Ni Makume (second act)

D (ibid.) D (ibid.)

San Makume (third act)

Fukagawa Susaki (a spit of land along Edo Bay now just east of Ichikawa Shiohama) umibe no ba The Beach at Fukagawa Susaki Butsudan mae yume no ba The Dream in front of the Butsudan (Fujima Kanjr(1900.10.8-1990.12.5) = Furitsuke) (Fujima Kanjr(1900.10.8-1990.12.5) = Choreography)

Oogiri (conclusion)

Miura ya keisei ShikishimaMiura ya nyb OtamaAoki Shurei = Kagaya Utae (Nakamura Utae), Miura ya wakai mono Genshir = Matsumoto Kuemon, Fujiyoya Jusabur = Kataoka Senjir (Kamimura Kichiya), yarite Ostume= Jitsukawa Enju, keisei Kumoi = Onoe Umenoj (Otani Chigusa), keisei Tagasode = Onoe Umenoj, shinz Nakakubo = Ichikawa Rik, Daikan Nagai Menz/Tsurakurasend Kumaz = Band Kitsutar, nagai Iwabuchi GdayuSunosaki no Gohei ji = Onoe Yoshio (Yoshikawa Akiyoshi), shya Sakubee = Onoe Kotatsu (Onoe Tatsuroku), Mitoya tedai Yosabur = Ichikawa Enjr, shinz Yoneyama = Nakamura Utamatsu, Miura ya kawai mono Kisuke = Harada Toshio (Kataoka Kz/Takaz), hinnin no ken = Osakabe Nobuhiro (Ichikawa Shinshichi), hinnin no matsurigoto = Watanabe Yoshihiko (Nakamura Kikaku), shinz tarebito = Takase Kji (Ichikawa Emiko), Miura ya wakai mono = Kojima (Matsumoto Kinichi), Miura ya wakai mono = Toyama Shinya (Nakamura Toshijir), torite = Chiba Hideki (Nakamura Gansei), torite = Harashima Yasuyoshi (Sawamura Mitsuki), nakia = Mori Tadayuki (Ichikawa Emiha), kaburo Wakano = Ochiai Ayumi, kaburo Yukari = Yanaginuma Kumiko Takemoto sakkyoku = Takemoto Aoiday Hosoku : daiku kai ken wo furi kaette Miura ya courtesan ShikishimaMiura shop wife OtamaAoki Government Treasurer = Kagaya Utae (Nakamura Utae) Miura shop young person Genshir = Matsumoto Kuemon Fujiyo ya Jsabur = Kataoka Senjir (Kamimura Kichiya) Brothel madam Ostume = Jitsukawa Enju Courtesan Kumoi = Onoe Umenoj (Otani Chigusa) Courtesan Tagasode = Onoe Umenoj Courtesans attendant Nakakubo = Ichikawa Rik Magistrate Nagai Menz/Tsurakuraboatman Kumaz = Band Kitsutar Magistrate Iwabuchi GdayuSunosakis Gohei(1) = Onoe Yoshio (Yoshikawa Akiyoshi) Village headman Sakubee = Onoe Kotatsu (Onoe Tatsuroku) Mitoya sales clerk Yosabur = Ichikawa Enjr Courtesans attendant Yoneyama = Nakamura Utamatsu Miura ya young person Kisuke = Harada Toshio (Kataoka Kz/Takaz) and Outcast = Osakabe Nobuhiro (Ichikawa Shinshichi) Outcasts politician = Watanabe Yoshihiko (Nakamura Kikaku) Courtesans attendant = Takase Kji (Ichikawa Emiko) Miura ya young person = Kojima (Matsumoto Kinichi) Young person = Toyama Shinya (Nakamura Toshijir) Policeman = Chiba Hideki (Nakamura Gansei) Policeman = Harashima Yasuyoshi (Sawamura Mitsuki) Waitress = Mori Tadayuki (Ichikawa Emiha) Courtesans young girl servant Wakano = Ochiai Ayumi Courtesans young girl servant Yukari = Yanaginuma Kumiko Takemoto composition = Takemoto Aoiday Supplement : Ninth time public performance is shown reflecting on the past

(1) Sunosaki is located just south of the Boso Peninsula in the mouth of Tky Bay Kuruwa Bunko Shikishima Monogatari ha, Mokuami no sakuhin no naka deha kyokume te jen kikai no sukunai sakuhin de, kono (hazuki kai) de no jen ga sengo hatsu no fukkatsu de aru. Kono sakuhin no ganmoku no hitotsu ga, ijimerareru gawa no Miura ya keisei Shikishima to, ijimeru gawa no nyb Otama wo ichinin no yakusha ga kawaru koto. Shoen sandaime Sawamura Tanosuke ha, t toki sudeni dasso de kataashi wo ushina tte ita ga, soredemo enjirareru y ni Mokuami ga kushin shita to tsutaerareru. Shikishima to Otama ni kuwae, tachiyaku no Aoki shurei mo Utae ga kawari, Otama to tsjiru Miura ya no wakai mono Genshir ni Kuemon ga funhsita. Takemoto no sakkyoku ha Takemoto Aoiday. Saigo ni Shikishima no otto no Jsabur ga Butsudan mae de miru (yume no ba) wo (oogiri) toshite jen. Kiyomoto Kazur ga ogina kyoku wo tant shita. Kuruwa Bunko Shikishima Monogatari is indeed, above all, Mokuamis production. Though opportunities to perform this production are exceedingly scarce this (August Committee) was the occasion of its first post war revival. For one thing the essence of this production surrounds the potential ill treatment of the Miura ya courtesan Shikishima by Otama, the wife of the Miura ya with one actor switching between the two roles. On the occasion of its first performance Sawamura Tanosuke III played the dual roles though he had already lost one leg through painful gangrene and yet still performed even though Mokuami told him of his uneasiness. Along with the roles of Shikishima and Otama, Utae, a tachiyaku (young adult male role player) also plays the Government Minister Aoki. The character of Otama was played as indulgent of the Miura yas young man Genshir who was played by Kuemon. The Takemoto composition was by Takemoto Aoiday. In the final and concluding scene of the performance, during the dream sequence, Shikishimas husband Jsabur is in front of and watching the Butsudan. Kiyomoto Kazur was in charge of the supplementary composition. Butai ha Edo Yoshiwara Nakano ch. Miura ya no wakai mono Genshir ha okami no Otama to fugi no naka da tte. Sore wo urekko no keisei Shikishima ni jirareta koto kara, Genshir ha

yarite Ostume to kettaku shite Shikishima ni goj ry funshitsu no nureginu wo kise, monooki sekkan suru. Korae teita Shikishima ha, mana musume Wakano ga makizoe ni nari s nao wo shitte enzai wo mitome, jigai suru. Andoshita Genshir ga Shikishima no nakigara wo tsudura ni oshikome teiru to, soko ni zotto suru hodo utsukushii Otama ga kanbase wo noz kaseru. Nanimo shiranai Shikishima no otto, Fujiyo ya Jsabur ha Fukagawa Susaki ni amiry ni dekakeru to, ryshi kara tsudura iri tte nagare te kita onna no shigai no hanashi no kikasareru. Sono onna no sode no mondokoro kara, Jsabur ha jibun ga Shikishima ni ataeta heyagi da to shiru. Naze sono yna me ni to nageku Jsabur. Sono haigo no od no naka de, Otama to Genshir ga ichibushish wo kiiteita The setting is the main street of the Licensed Quarter, Nakano ch. Miura yas young employee Genshir is having an illicit affair with the Miura ya owners wife, mistress Otama. The situation of the favourite and well renowned courtesan Shikishima develops out of this state of affairs as Genshir and the brothel madam Ostume conspire to make false allegations at Shikishima, who has lost fifty ry, who is treated to a severe telling off in the warehouse. Shikishima endures the situation which beloved daughter Wakano is caught up in, following along with the plan which she is aware of, knowing the allegations are false. Shikishima chooses suicide. A relieved Genshir packs Shikishimas corpse into a wicker clothes hamper and then shudders at the extent to which the beautiful face of Otama deteriorates. Shikishimas carefree husband, Fujiyo yas Jsabur, is out net fishing near Fukagawa Susaki(1). From a fisherman a wicker clothes hamper, containing the aforementioned womans corpse, floats northward carried by the current trailing a womans sleeve with a crest, a dressing gown which Jsabur himself is acquainted with and gave to Shikishima. Why thats a similar sight grieves Jsabur. In the background scene, inside a small temple, Otama and Genshir can be heard retelling the whole story (1) Fukagawa Susaki a spit of land along Edo bay () ()(1) 36 Utae(Nakamura) (1) Shikishima Monogatari no koto ha Showa 36 nenni, kaigai ken no tame Soren ni mukau senj de Kawatake Toshio sensei kara ukagatta no ga saisho deshita. Kan te mitai shibai ga aru nda to ossha tte, gensaku kara ukagaeru sukeru no ookisa, omoshirosa wo netsuben shita kudasai mashita. Haruka mukashi ni kiita ohanashi deshita ke do, tsuyoku kioku ni zan tte ite, kikai ga areba zehito negatte ita sakuhin deshita. Utae(Nakamura) (1) There was a Shikishima Monogatari event in about 1961. Kawatake Toshio sensei, who was travelling with an overseas performance tour to the Soviet Union, gave a speech at the as they set off. Speaking about the size and scale of the original work he said The reason is that it looked like it resembled an existing play and that because there was so much interest and it was fervently spoken about that he was pleased they gave it to him. A story that was heard long ago was recalled precisely, and it was confidently remembered that there was a lot left to do. The opportunity and desire to undertake a performance was by all means possible (1) Utae Nakamura http://www.kabuki21.com/utae1.php ()( )(1)

15 Narushima (Kazuo) (1) Utae san kara Shikishima Monogatari wo oshierare, gensaku wo tsdoku shita, sono omoshirosa ni hiki komare mashita. Shikashi, kore wo yaru ni ha kyakuhon wo hotei suruto koro kara hajime nakereba naranai. Masu, hatsuansha dearu Mokuami no sson ni ataru Kawatake Toshio sensei ni onegai ni agarimashita. Keredo Yari tai kimochi ha aruga, jibun ha kenkysha de, kyakuhonenshutsu ha issai yara nai koto de, tooshi tekita no de to kotorare teshimatta. Shikashi zehi tomo jen shitai sakuhin deshita no de Deha jibun tara de kaite mimasu no de, sore wo kansh itadaku toiu katachi ha ikaga desu ka to onegai shite, go kaidaku itadakimashita. Soshite shuttai tano ga kono toki no jen daihon desu. Kawatake sensei no susume de Hatsuki kai bengei daihon to meimeishi, enshutsu ha Mochida san ni onegaishimashita. Kono toki kara dai 15 kai made Hatsuki kai bengei daihon ga tsudukimashita. Shikishima Monogatari no jen ga kakkiteki da tta no ha, Hatsuki e de hajimete zero kara sakuhin wo tsukutta koto. Soremade ha Hatsuki e nari no kuf wo kuwata tohaie, kihon ni san daime Tokiz san ya roku daime Utaemon san ga nasatta mono ga arimashita. Kenshkai desu no de, mochiron sore mo hitotsu ari zama desu ga, kai wo kasaneta koto de, jibun taranara de ha no mono mo tsukurita ito iu ganm ga umare te ita. Shikishima de sore wo jitsugen dekita ito de, sono ato no Hatsuki e no ari h ga ookiku kawatta yni omoimasu. Engeki hyronka no Watanabe Tamotsu shi ga gun z no gekihy de zessan shite kudatta koto mo ari, zuibun hakugatsuita kan ga arimashita. Kono goro kara, wakai yakusha tachimo sekkyokuteki ni deteku reru y ni narimashita. Inshteki datta no ha Omodakaya no tateshi toshite katsuyaku shita Ichikawa Enjr. Koe wo kakeru to Detai toiu hito ha ookatta desu ga, jibun kara zehi deshite kure toiu ni kita no ha are dake datta to kioku shiteimasu. Narushima (Kazuo) (1) Reading through the original work with interest influenced Utae san who was talked into teaching Shikishima Monogatari. Nevertheless as a consequence at a suitable time a polite request was made for the person who originally made the proposal and could not but help himself by beginning this renewed script study, Mokuamis great grandchild, Kawatake Toshio sensei who, excusing himself, finished by saying that although, For a researcher myself to be able to truthfully undertake the feeling for the form of the scriptproduction is without exception an inexhaustible and uncertain matter and this is the reason for the full agreement to see this through. Yet even if wanting to consistently undertake the production of the performance reasoned, Well, is the rationale for having editorial supervision over the

form because of my own quality of writing?. So, after a request was made, with ready consent I accepted the undertaking. This occasion was an emotive performance scripting event. Kawatake senseis recommendation was for an August Literary Script Committee and naming, and for the production Mochida san was politely requested. Meetings continued, 15 of them occurring though until the August Literary Script Committee . The performance of Shikishima Monogatari which grew out of the August Committee was nothing less than ground breaking. Even so until just after the August Committee additional further figuring out was required which built on the foundation of the emotional connection established by Tokiz III(2) san and Utaemon VI(3) san. Naturally the workshops were only one method, the work quickly getting backlogged. Frequently lined up for appearances the intention to realize this work was born out of my own aspiration. I think the realization of Shikishima built on the existing practice of the August Committee in order to transform it into something on a grander scale. The figurehead of the theatre critics group, Mr. Watanabe Tamotsu, gave the event rave reviews, gaining surprising prestige and admiration. From this it turned out to be the right time for young actors to make a positive come back by being seen making an appearance. Ichikawa Enjr, the teacher of actors sword play for the Omodakaya Actors Guild, impressively and actively participated. The voices of men making so called forthcoming appearances was heard saying that this was the only show to be with. (1) Narushima Kazuo was born in 1930. Onoe Kikugoro VII joined the troupe in 1955, and they worked together and dialogued in the same theatre office for 40 years. In 1954, after making his debut in the world of Kabuki, the then Ichikawa Ebiz began coming to the office. Retired from the firm in 1957, the following year he (Narushima) became Secretary General of the Institute for Saving Traditional Kabuki, and the "August Committee" responsible for overall planning and policies. He retired from the Institute in March 1999 and became the Secretary General of the Nagauta Association in April that year to the present. (2) Nakamura Tokiz III http://www.kabuki21.com/tokizo3.php (3) Nakamura Utaemon VI http://www.kabuki21.com/utaemon6.php () () ()(1)

Mochida (Ry) (budai enshutsu) (1) Jitsu ha, izen ha Mokuami sakhin ni amari kmi ga arimasen deshita. Hakuj suruto, konomi de nakatta no desu. Ni mo kakawarazu enshutsu wo hikiuke tano ha, hitotsu ni ha Shikishima Monogatari ga kinen jen sarete arezu, enshutsu ni hinagata ga nakatta koto. M hitotsu ha, Narushima san ga kakareta kyakuhon ga hij ni omoshiro katta kara deshita. Soremade ha, Mokuami toiu to Shiranami sakusha de, shichgoch no serifu ga utsukushii to itta insh shikanakatta. Ga, sore ha Kooriyama no ikkaku dato shiru koto ni narimashita. Genzai ippanni iware te iru Mokuami no ninki kygen kara ha sz mo dekinai futai tokoro ga aru no ni kytan shimashita. Dorodoro to shita mono onen, shitto, sore yue no zangyaku na koroshi nado ga aru. Narushima san ha sore wo migoto ni horioko shiteimashita. Mokuami ga Edo no Sheekusupia toiwareru kore yue ka to me kara uroko no ochiru omoi deshita.Soshite m hitotsu, Yotsuya Kaidan de Utae san ga miseta shikake wotsukatta meien wo michido mitakatta. Shikishima Monogatari ha Yotsuya Kaidan ni makezuotorazu no haya kawari shikake no renzoku desu. Shikamo Yotsuya Kaidan to chigatte tehon ga nai. Sokode enshutsu no tachiba de, yori kka ga atte zanshin moto na kuf mo kangae mashita. Shikashi, Utae san ga ish no haya kawari ha motoyori, yaku no hayu kawari wo enji te ikeru noka, ooki na kake ni de ta y na kimochi mo arimashita. Zenkai no Yotsuya Kaidan no Oiwa no toshika na seika ga nani yori no seik no kagi da to omotte imashita. Kekka ha sugoi mono deshita. Otama no sashigane de Shikishima ga seme koro sareru bamen de, Shikishima ha semesai na mare aware sugata de jigai shimasu. Sono sj by ato ni ha, kirei nagan no Otama ni kawatte enzen to tj suru. Itakabe wo ha tte de te serifu no ma mo shitsukan mo garari to kae te, ikanimo akujo toiu reikoku na funiki wo tadayowa se te desu. Mijikai jikan de katsura, ish no koshirae wo shinaoshite detekuru migoto san ni mo odoroki mashita ga, naniyori yaku toshite no kawari ynikantan shimashita. Awate zu, yuttaritoshita aida, yoy shakushaku de arawareru. Masashiku akujo deshita.Susaki Dote ni ha sarani shitawoma kimashita. Dote no danmari de, kon ni ha tachiyaku no Aoki shurei de detekuru no desu. Maku ga shimaru ni nitsurete, shzu kara kawagishi e nagare te kita fune ha, maku ni oshida sareru y ni hanmichi ni susumi, schichi-san ni tomatte maku soto ni narimasu. Funao de sao wo totte iru Genshir yaku no Kueimon san to fune no Tomaya no komo no maedare wo sabaite, Otama ni kawatte Utae san ga tatte deru. Sono toki no kyakuseki no do yo mekitoittara. Saishi ha Utae san doto ha kigatsu ka nakatta noda to omoimasu. Kurai naka ni hitodama ga tonde kite, Otama ga Oya, hitodama da yo toitte, enkan wo sashidashite hi wo tsukeru. Sono de minasan Sakki dote niita hito ga to ki ga tsuku. Seki no ba no toki mo desu ga, attoiumani mattaku chigaujinbutsu ni natte miseru. Kabuki ha engeki ij no nanika da toitta dareka no kotoba wo omoide shimashita. Mochida (Ry) (Theatre Director)(1) In truth before this it was unlikely that there had been much interest in this work of Mokuami and, admittedly, up until this point there hadnt been any affection. Nevertheless the undertaking of this production was an emotional one and in regard to contemporary performances Shikishima Monogatari is destined to be done though it wasnt a model production on this occasion. Not long after Narushima san had written a frankly extraordinary and interesting script. Until that point is was the impression of Mokuami, the author of Shiranami(2), that the shichgoch (seven and five syllable meter) speech didnt just give a

general impression of beauty. If thats the case, however, then its possible to understand the substance of the Kooriyama section. Currently generally referred to as Mokuamis most popular play I cant imagine a more admirable and profound idea. Being confused and then emotional begrudging and envious, because of the emotionally cruel murder. Narushima san reflected that this ought to be reclaimed as a magnificent deed. Isnt this the reason that Mokuami is referred to as Edos Shakespeare? was revelatory thinking. Again Utae san showed that, when examining the tour de force that is Yotsuya Kaidan(3), that such theatrical devices were used. In contrast with Yotsuya Kaidan Shikishima Monogatari used similar alternative, clever, theatrical devices though the forms of such devices dont differ that much from Yotsuya Kaidan. Accordingly, from the standpoint of the production, the aim wasnt about guessing about more ideas for a more effective novelty as an objective. However, by this time of course Utae sans costumes for the upcoming programme had been endorsed to ensure the first-rate appearance of the characters, and wasnt it a grand gamble and a sensation to appear in another style?! Whats more, if I remember correctly, I think that I detected an intensification of the accomplishment of Oiwa in Yotsuya Kaidan. It was an amazing result. The suggestion was that though at Otamas provocation the responsibility for the death scene remains that of Shikishima whose suicide appeared pitiable as she had been seldom persecuted. Dozens of seconds later Otama enters on stage, her expression having been neatly substituted with a sweetly smiling one. Speaking ones lines by the itakabe(4) wooden wall there is pause a sensation that the feel of the material has suddenly changed. Indeed, isnt it that the so called wicked woman wants to cut loose with the cold hearted atmosphere? In a short time the wig and the costume were amazingly made over to appear magnificent, wonderfully transforming the role. A flustered intellect was calm for a while, the embodiment of composed calm. Surely she was a wicked woman. Furthermore there was astonishment at Susaki Dote(5). The tachiyaku role of the Government Minister Aoki appears in Dotes danmari(6). With the curtain down a boat cleverly appeared as though borne on the current from the river bank, then, as the curtain was opened it moved forward onto the hanamichi, stopping at the location of the shichi-san(7) outside the curtain. Funao is poling the boat, fetching Kueimon sans character, Genshir. Tomoyas beggar is selling aprons, as Utae sans Otama returning, suddenly appears. At that moment the audience applauded excitedly. If this was to occur at the start Utae san, thinking, became aware that this had to happen. Amongst them a gloomy disembodied flying soul approaches. Because Otamas pipe goes out and has to be relit, Oh! It really is a disembodied soul. With that the plays underlying principle is revealed Hapless fate leads man to the shore . In a blink of time the completely different character from the (warehouse) duty scene appeared. For Kabuki drama the above mentioned revealed something. reminiscences such as someones manner of speaking. (1) Mochida Ry was born in 1939. He studied theatre fine arts and stage direction under Ooki Yasushi and was involved in the preparation for the opening of the National Theatre which he entered in 1966. As well as working on the staff as Technical Theatre Director he also wrote and directed plays. A member of the August Committee he often took charge of the production of Stage Directors screenplays. He was Director of the National Bunraku Theatre. In 2004 he retired from the Arts Council of Japan (National Theatre). Now he produces and conducts research. He is currently participating in the Japan Arts Council and is visiting Professor at Gifu Womens University. He is the author of Budai Uch no Jjintara Inhabitants of the World of the Stage (2004, pub. Sekimizu Inc.) (2) Shiranami http://www.kabuki21.com/gonin_otoko.php (3) Yotsuya Kaidan http://www.kabuki21.com/yotsuya_kaidan.php (4) Itakabe a solid wall diving a large room into two smaller ones (5) Susaki Dote () Act 3 Scene 4 of Hachiman Matsuri Yomiya no Nigiawi ( ) otherwise known as Chijimiya Shinsuke()by Kawatake Mokuami which premiered at the Ichimuraza in August 1860 (6) Danmari a kind of pantomime where actors move around the stage as though looking for something in the dark

(7) Shichi-san a point 3/10 of the distance along the hanamichi walkway from the main stage, which runs through the audience and is the place where pivotal points of the play can be performed

Translated from Kabuki Preservation Society Dent Kabuki Hozon Kai web page http://www.kabuki.or.jp/densyou/hazukikai/syousai09.html http://www.kabuki.or.jp/densyou/hazukikai/pdf/no_09.pdf

Note: Performances of Kurawa Buno Shikishima Monogatarai also took place at the Tokyoza on the 4th August 1901 http://www.arc.ritsumei.ac.jp/archive01/theater/image/PB/zoku2/zoku2-20914.jpg and at the Shintomiza on the 6th June 1903 http://www.arc.ritsumei.ac.jp/archive01/theater/image/PB/zoku2/zoku2-20988.jpg Cast Aoki Shurei and fisherman Gohei played by Umekichi () Shikishima and Otama played by Matagor () Genshir played by Yaosabur () Fujiyoya Jsabur played by Umejir () later Onoe Kikujir III Brothel owner Kumoi played by Kikumatsu () later Onoe Matsusuke V Boatman Kumaz played by Komanosuke () later Ichikawa Jukai III New courtesan Yoneyama played by Kuz () Little girl Wakano working at a brothel played by Kimitar () The premiere must have been in around about April 1869 http://educators.mfa.org/objects/detail/255106?related_people_text=Gusokuya+Kahei Actor Sawamura Tanosuke III as Keisei Shikishima April 1869 The play was revived in 2001 a different title "Kaidan Shikishima Monogatari" (Kabuki 21)