Onoe Kikugoro

Kabuki actor. Stage name: Otowaya.

The first of his kind (1717-1783), he was born in Kyoto. His pen name was Baiko. He was the son of the theater performer Otowaya Hanpei. He became a disciple of the female actor Onoe Samon, and made a name for himself as a young man and young female actor before switching to a leading role. He traveled between the three capitals, and became a representative actor of the Horeki to An'ei period (1751-1781). Among his best roles was Yuranosuke in "Chushingura," which is considered the greatest of all time and of modern times, and he played this role many times throughout his life. Other roles he played included Tonase, Kanpei, Kanshojo in "Sugawara," and Matsuomaru.

The second (1769-1787) was the son of the first. He took the stage name from Onoe Ushinosuke in 1785 (Tenmei 5). He was a beautiful young female actor, but died young at the age of 19.

The third (1784-1849) was the son of an Edo joiner. He was adopted by Onoe Matsusuke (Shoroku), a disciple of the first. After playing the roles of Eizaburo, Matsusuke II, and Baiko, he took the stage name of the third in 1815 (Bunka 12). He was a versatile actor in the Edo theater scene during the Bunka and Bunsei periods (1804-1830). He excelled in looks and style, and excelled in both wagoto (comic stories) and jitsugoto (real stories), but he also played villains and onnagata (female characters). His range of performance was extremely wide, from the Marumoto period pieces to the kizewa (live-action) plays of Tsuruya Nanboku IV. It is noteworthy that he refined and perfected the style of ghost story kyogen that he inherited from his foster father Shoroku, and the three roles of Oiwa, Kodaira, and Yomochi in "Yotsuya Kaidan" are representative roles that the third first performed. In 1847 (Koka 4), he retired from the stage and ran a mochi (rice cake) shop in Asakusa, but returned to the stage in other regions under the name of Okawa Hashizo. He fell ill in Osaka and died in Kakegawa, Enshu (Shizuoka Prefecture), on his way back to Edo.

The 4th (1808-1860) was the son-in-law of the 3rd. After passing through the stage names of Eizaburo and Baiko 4th, he took the stage name of Kikugoro 4th in 1855 (Ansei 2). He specialized in female roles, particularly suited to off-beat roles in historical dramas (Masaoka, Shigenoi, etc.), but he also played successful roles in domestic dramas, such as Otomi in "Kirare Yosa."

The 5th generation (1844-1903) was the grandson of the 3rd generation. His real name was Kiyoshi Terashima. At the age of 8, he succeeded the 13th Ichimura Uzaemon and became the head of the Ichimuraza. As an actor, he was recognized by the 4th Ichikawa Kodanji for his role as Mikichi the clam seller in "Nezumi Kozo" at the age of 14, and his breakthrough performance was Benten Kozo, which premiered at the age of 19. In August 1868 (Keio 4), he handed over the headship of the troupe to his younger brother and took the name of the 5th generation. In addition to his natural beauty of form, he refined the realistic style of the 4th Kodanji and opened up a unique realm in the role of the cool Edokko protagonist. Together with the 9th Ichikawa Danjuro, he was known as "Dankiku" and was a great actor who represented the Meiji theater world. He established and created "Ten Kinds of New and Old Engeki," and actively performed zangirimono (traditional Japanese plays) that were adapted to the new era. Died on February 18th, 1903.

The eldest son of the 5th generation , the 6th generation (1885-1949). His real name was Terashima Kozo. He took the stage name of the 6th generation from the 2nd generation Ushinosuke in 1903 (Meiji 36). From an early age, he was entrusted to the 9th generation Ichikawa Danjuro and trained him. During the Taisho period, he formed a lively period known as the "Kikukichi Era" with the first generation Nakamura Kichiemon at the Ichimuraza Theater in Nichomachi. He excelled in period pieces, domestic plays, and dance, and was enthusiastic about not only the classics but also new works, producing many masterpieces. With a modern and enterprising spirit, he performed classics with new interpretations and new direction, and also founded the Japan Acting School, becoming its principal and devoting himself to training his successors. He became a member of the Japan Art Academy in 1947 (Showa 22). He died on July 10, 1949. He was posthumously awarded the Order of Culture. His publications include the collections of artistic discussions "Art" (1946) and "Odori" (1948).

The eldest son of the 7th Onoe Baiko (1942- ). His real name was Terashima Hideyuki. He took the stage name of the 7th Onoe Baiko from the 4th Kikunosuke in 1973 (Showa 48). With a graceful style of performance, he has played both female and male roles and is active as one of the leading actors of the Heisei era of Kabuki. In 2000 (Heisei 12), he became a member of the Japan Art Academy, and in 2003 was recognized as a holder of an Important Intangible Cultural Property (Living National Treasure). His eldest son is the 5th Onoe Kikunosuke (1977- ).

[Yukio Hattori]

"The 5th Onoe Kikujiro" by the 5th Onoe Kikugoro (1997, Japan Library Center)" ▽ "The 6th Kikugoro" by Toita Koji (Kodansha Bunko) ▽ "The Plays of the 7th Kikugoro" by Okura Shunji (1989, Heibonsha)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

歌舞伎(かぶき)俳優。屋号音羽屋(おとわや)。

初世（1717―1783）京都生まれ。俳名梅幸(ばいこう)。劇場の出方(でかた)音羽屋半平の子。女方(おんながた)尾上左門の弟子になり、若衆方(わかしゅがた)、若女方(わかおんながた)で名をあげ、やがて立役(たちやく)に転じた。三都を往来して活躍、宝暦(ほうれき)～安永(あんえい)期（1751～1781）の代表的名優となった。当り役のうち『忠臣蔵』の由良之助(ゆらのすけ)は古今最高と評価され、生涯にしばしば演じた。ほかに戸無瀬(となせ)、勘平、『菅原(すがわら)』の菅丞相(かんしょうじょう)、松王丸などの当り役がある。

2世（1769―1787）初世の子。1785年（天明5）尾上丑之助(うしのすけ)から2世を襲名。美貌(びぼう)の若女方だったが、19歳で早世した。

3世（1784―1849）江戸の建具屋の子。初世の高弟尾上松助（松緑(しょうろく)）の養子。栄三郎、2世松助、梅幸を経て、1815年（文化12）3世を襲名した。文化・文政期（1804～1830）の江戸劇壇で、万能の俳優として活躍した。容貌、風姿に優れ、和事(わごと)、実事(じつごと)を得意としたが、敵役(かたきやく)や女方もこなした。丸本系の時代物から4世鶴屋南北作の生世話(きぜわ)まで、芸域はきわめて広かった。養父松緑から受け継いだ怪談狂言の様式を洗練させ、大成したことは特筆すべきで、『四谷怪談』におけるお岩、小平、与茂七の3役は3世の初演した代表的な役である。1847年（弘化4）舞台を退き、浅草で餅(もち)屋を営んだが、大川橋蔵の名でふたたび地方の舞台に出た。大坂で病を得、江戸に帰る途中、遠州（静岡県）掛川で没した。

4世（1808―1860）3世の女婿。栄三郎、4世梅幸を経て1855年（安政2）4世菊五郎を襲名。女方専門で、とくに時代物の片はずしの役（政岡(まさおか)、重の井(しげのい)など）に適したが、世話物(せわもの)にも『切られ与三(よさ)』のお富のような当り役がある。

5世（1844―1903）3世の孫。本名寺嶋清。8歳で13世市村羽左衛門(うざえもん)を継ぎ、市村座の座元になった。俳優としては、14歳のときの『鼠小僧(ねずみこぞう)』の蜆売(しじみうり)三吉で4世市川小団次に認められ、19歳で初演した弁天小僧が出世芸となった。1868年（慶応4）8月、座元を弟に譲り、5世を襲名した。天性の様式美に加えて、4世小団次の写実的芸風を洗練し、いなせな江戸っ子の主人公役に独自の境地を開いた。9世市川団十郎とともに「団菊」と称され、明治の劇壇を代表する名優であった。「新古演劇十種」を制定、創演したほか、新時代に材を得た散切物(ざんぎりもの)を積極的に演じた。明治36年2月18日没。

6世（1885―1949）5世の長男。本名寺嶋幸三。1903年（明治36）2世丑之助(うしのすけ)から6世を襲名。幼時から9世市川団十郎に預けられて指導を受けた。大正期に二長町(にちょうまち)の市村座で初世中村吉右衛門(きちえもん)とともに「菊吉時代」とよぶ活気ある一時期を形成した。時代物、世話物、舞踊のいずれにも優れ、古典はむろんのこと新作にも意欲的で多くの傑作を生んだ。近代的で進取の気性に富んでいたので、古典を新解釈、新演出で演じ、また日本俳優学校を設立して校長となり、後継者の育成にも力を尽くした。1947年（昭和22）日本芸術院会員。昭和24年7月10日没。没後文化勲章を追贈された。芸談集『芸』（1946）、『おどり』（1948）がある。

7世（1942―　）7世尾上梅幸の長男。本名寺嶋秀幸。1973年（昭和48）4世菊之助から7世を襲名した。花のある芸風で、女方と立役を兼ね、平成歌舞伎を代表する俳優の一人として活躍している。2000年（平成12）日本芸術院会員となり、2003年重要無形文化財保持者（人間国宝）の認定を受ける。長男が5世尾上菊之助(きくのすけ)（1977―　）である。

［服部幸雄］

『5世尾上菊五郎著『五代尾上菊次郎』（1997・日本図書センター）』▽『戸板康二著『六代目菊五郎』（講談社文庫）』▽『大倉舜二写真『七代目菊五郎の芝居』（1989・平凡社）』

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