"Omi Genji (■1) Lecture" - Omi Genji Shikata Koshaku

...Of these, "Nanban Tetsu Goto Menuki" and "Tahei-zuma Kaikazari" were banned from performance as they violated the Tokugawa Shogunate's taboo, and the originals were never published. However, the former was later adapted and performed as "Yoshitsune Shinpukumijo" at the Edo Hizen-za in March 1744 (Enkyo 1) and "Yoshitsune Koshigoejo" at the Toyotake-za in July 1754 (Horeki 4) (it was revised twice more after that), and the latter was adapted and performed as "Kamakura Sandai-ki" at the Edo Hizen-za in March 1781 (Tenmei 1). Meanwhile, in Kabuki, the aforementioned "Yoshitsune Shintakadate" was adapted at the Osaka Arashi Sanemon-za (corner play) in 1720, and other original works were mainly adapted from puppet theater, such as "Omi Genji Lecture" at the Osaka Ichiyamasukegoro-za (middle play) in March 1772 (An'ei 1). After the Meiji period, works using real names were also created, such as Tsubouchi Shoyo's "A Paulownia Leaf" and "Hototogisu Kojo no Rakugetsu"...

*Some of the terminology used in "Lecture on the Omi Genji (■1)" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…なお，そのうち，《南蛮鉄後藤目貫》と《太平頭鍪飾》とは幕府の忌諱に触れて興行禁止を命ぜられ，その正本も刊行されなかったが，のちに前者は1744年(延享1)3月江戸肥前座の《義経新含状（よしつねしんふくみじよう）》，54年(宝暦4)7月豊竹座の《義経腰越状》(以後も2度にわたる改訂あり)など，後者は81年(天明1)3月江戸肥前座の《鎌倉三代記》などに改作，上演されている。　一方，歌舞伎では，1720年大坂嵐三右衛門座(角の芝居)で前述の《義経新高館》が脚色されたことをはじめとして，おもに人形浄瑠璃からの改作物が行われていたが，ほかに72年(安永1)3月大坂市山助五郎座(中の芝居)の《近江源氏講釈（おうみげんじしかたこうしやく）》などの独自作もある。なお，明治以降には，実名を用いたものも作られるようになり，坪内逍遥の《桐一葉》《沓手鳥孤城落月（ほととぎすこじようのらくげつ）》などが生み出された。…

※「《近江源氏(■1)講釈》」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