Type

A term used in the performing arts. It refers to a style of expression that has been passed down, refined, and fixed for generations in the performance and direction of traditional performing arts such as Gagaku, Noh, Kyogen, Bunraku puppet theater, Kabuki, and Buyo. It is a characteristic of Japanese performing arts that has been passed down mainly through the art of the performers. There are often significant differences in the interpretation of the work and the overall composition and direction depending on the school or family, and this is referred to as "the style of a certain school" or "the style of someone." In Noh, the term "kogaki" refers to a performance using a special style. For example, in the kogaki of "Onizoroe" in "Momijigari," there is usually only one shite demon, but there are five tsure demons, and there are changes that affect not only the costumes, music, and dance, but also the entire script.

In the Edo period, Kabuki actors' originality and ingenuity were highly valued, and therefore various forms were born, but after the Meiji period, as Kabuki became more classical, the production began to become fixed, and a limited number of forms came to be faithfully followed. For example, the form of Kanpei in the fifth and sixth acts of "Chushingura" has two styles: the Edo style, represented by the "Otowaya style" perfected by Onoe Kikugoro III and V, and the Kamigata style, and for Kumagai in "Kumagaya Jinya," the style of Ichikawa Danjūrō ​​IX and the style of Nakamura Shikan IV have been handed down, and although there are clear differences in the steps and costumes of each, it is common knowledge in Tokyo today that Kanpei is performed in the Otowaya style and Kumagai in the Danjūrō ​​style. In the early Showa period, Kikugoro VI attempted new productions of several Gidayu Kyogen plays that respected the original works, and these forms have been passed down by his successors, but it is fair to say that the creation of such new forms has become extremely rare in recent years.

[Toshiaki Matsui]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

芸能用語。舞（雅）楽、能、狂言、人形浄瑠璃(じょうるり)、歌舞伎(かぶき)、舞踊など、伝統芸能の演技・演出において、代々継承され洗練されて固定化した表現様式のこと。演者の芸を中心に伝承されてきた日本芸能の特徴である。流派・家系によって、作品の解釈や全体の構成演出にかなりの差がある場合も多く、これを「何流の型」「誰々(だれだれ)の型」などという。能で小書(こがき)と称するのは特殊な型で演ずることを意味し、たとえば『紅葉狩(もみじがり)』の「鬼揃(おにぞろえ)」という小書の場合、後(のち)シテの鬼が普通1人なのを、ツレの鬼が5人も出るというように、扮装(ふんそう)や囃子(はやし)や舞の一部だけでなく、脚本全体に変化の及ぶものがある。

　歌舞伎も、江戸時代は俳優の創意工夫が貴ばれ、したがっていろいろな型が生まれたが、明治以降、歌舞伎が古典化するにつれて、演出の固定化が始まり、限られた種類の型が忠実に踏襲されるようになった。たとえば、『忠臣蔵』の五、六段目の勘平(かんぺい)の型には、3世、5世の尾上(おのえ)菊五郎によって完成された「音羽屋(おとわや)型」で代表される江戸風の型と、上方(かみがた)風の型があり、『熊谷陣屋(くまがいじんや)』の熊谷には、9世市川団十郎の型と4世中村芝翫(しかん)の型が伝わり、それぞれ演技の手順や衣装などに明瞭(めいりょう)な差があるが、今日の東京では勘平は音羽屋型、熊谷は団十郎型で演ずるのが常識のようになっている。昭和の初期、6世菊五郎がいくつかの義太夫(ぎだゆう)狂言に原作を尊重した新演出を試み、その型が後継者たちによって伝えられているという例はあるが、近年ではこうした新しい型の創造はきわめて少なくなっているといってよい。

［松井俊諭］

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