Matsusuke Onoe (first generation)

Japanese: 尾上松助（初世） - おのえまつすけ

...up to the second generation. (1) First Generation (1744-1815 | Enkyo 1-Bunka 12) The first generation Onoe Matsusuke changed his name to Shoryoku at the Edo Ichimura Theater in November 1809 (Bunka 6). Born in Osaka, he became a disciple of Onoe Kikugoro in 1755 (Horeki 5) and became Onoe Matsusuke in 1761.

From Matsusuke Onoe

...Kabuki actor. There are five generations. (1) First: Former name of first Onoe Matsuroku. (2) Second: Former name of third Onoe Kikugoro. (3) Third (1805-51, Bunka 2-Kaei 4): Born in Edo as the eldest son of third Kikugoro, he took the name of third Matsusuke in 1815 (Bunka 12). He trained under his father and changed his name to Okawa Mitomo in 1848 (Kaei 1), but died three years later without achieving success. (4) Fourth (1843-1928, Tenpo 14-Showa 3): Born in Osaka. Apprentice of fifth Kikugoro. Succeeded to the name of fourth Matsusuke in 1881. He gained fame as a supporting actor with a sophisticated style and was called a master. ...

From "Ghost Story"

...After the Kansei era (1789-1801), as the desire for stimulating and shocking plays grew, ghost story kyogen appeared, aimed at scaring the audience. The first of these was the ghost of the wet nurse Iohata (performed by Onoe Matsusuke I) in Tenjiku Tokubei Kokubanashi (The Tale of Tenjiku Tokubei, written by Tsuruya Nanboku IV) which premiered at the Kawarazaki Theater in 1804 (Bunka 1). Matsusuke used a painting by Maruyama Okyo to create the role, including messy hair and a grey-colored costume with a tapered hem called a funnel, and he also performed the role by jumping into the Buddhist altar during the withdrawal, shocking the audience. ...

From [Kabuki]

...But Nanboku's talent could only have blossomed with the help of other powerful actors with strong personalities. Nanboku's successful playwriting, based on a careful assessment of the abilities and personalities of actors such as Onoe Matsusuke I (Shoroku), Matsumoto Koshiro V, Iwai Hanshiro V, Bando Mitsugoro III, Ichikawa Danjūrō VII, and Onoe Kikugoro III, is what made him a great playwright. It is also unforgettable that Nanboku's works established new archetypes of human figures, particularly the "ladies' womanizer" and "evil woman."...

*Some of the terminology that refers to "Onoue Matsusuke (first generation)" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…2世まで。(1)初世(1744‐1815∥延享1‐文化12)　初世尾上松助が1809年(文化6)11月江戸市村座で松緑と改名した。大坂生れで1755年(宝暦5)尾上菊五郎の門弟となり，61年尾上松助となる。…

【尾上松助】より

…歌舞伎俳優。5世まである。(1)初世　初世尾上松緑の前名。(2)2世　3世尾上菊五郎の前名。(3)3世(1805‐51∥文化2‐嘉永4)　3世菊五郎の長男として江戸に生まれ，1815年(文化12)3世松助を襲名。父に従って修業し，48年(嘉永1)大川三朝と改名したが，3年後大成せずに没した。(4)4世(1843‐1928∥天保14‐昭和3)　大坂生れ。5世菊五郎の弟子。81年4世松助を襲名。渋い味の脇役として名声を上げ，名人といわれた。…

【怪談】より

…寛政年間(1789‐1801)以降，刺激的･衝撃的な戯曲を求める志向が強まるにおよんで，観客を恐怖させる目的の怪談狂言が現れた。1804年(文化1)河原崎座初演の《天竺徳兵衛韓噺（てんじくとくべえいこくばなし）》(4世鶴屋南北作)における乳母五百機（いおはた）の霊(初世尾上松助所演)がその嚆矢（こうし）とされる。松助はこの役で，乱れ髪や漏斗（じようご）と称する先細りの裾の鼠色の衣装などを円山応挙の絵を参考に工夫し，また引込みには仏壇へ飛びこむなどの手法で演じ，観客を驚かせた。…

【歌舞伎】より

…だが，南北の才能も，個性の強烈な実力派の役者たちがいてこそ花開いたものである。初世尾上松助(松緑)，5世松本幸四郎，5世岩井半四郎，3世坂東三津五郎，7世市川団十郎，3世尾上菊五郎らの実力と個性をよく見きわめ，彼らの芸の魅力を十分に計算した上での作劇の成功が，南北を名作者たらしめたのである。南北の作品の中で，とくに〈色悪〉〈悪婆〉という新しい人間像の典型が確立したことも忘れられない。…

※「尾上松助（初世）」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

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