Noboru Umezawa

…Afterwards, swordplay troupes such as the Second New National Theatre were born one after another, and after the New National Theatre began to perform mainly in Tokyo, the Shinsei Theater was born in Osaka, centered around Nakata Shozo. Two generations of Umezawa Noboru (the first later changed his name to Ryuho), Kanai Osamu, Asaka Shinpachiro, and Sawamura Kunitaro each formed their own troupes, and there was even a time when swordplay was the majority in the nation's popular theater. Writers such as Hasegawa Shin, Yukitomo Rifu, Hara Iwao, Murakami Genzo, and Sasaki Ken wrote suitable scripts for the theme of the fights between chivalrous men in topknots, intertwining it with morality and human feelings, and swordplay became more and more popular as the war deepened. …

*Some of the terminology that mentions "Noboru Umezawa" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…その後〈第二新国劇〉をはじめとする剣劇劇団が続々と生まれ，〈新国劇〉が東京中心に公演するようになってから大阪では中田正造らを中心にした〈新声劇〉が生まれた。また2代にわたる梅沢昇(初世はのちに竜峰と改名)や，金井修，浅香新八郎，沢村国太郎らは，それぞれに一座を組み，全国の大衆演劇の大半が剣劇といえるほどの時代さえあった。そして〈ちょんまげ〉の任俠の徒の争闘を主題として義理人情をからませた長谷川伸，行友李風（ゆきともりふう），原巌，村上元三，佐々木憲らの作家がこれに好適の脚本を提供し，戦時色の深まるとともに剣劇はますます盛んに行われた。…

※「梅沢昇」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報