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...It is thought that in Edo Kabuki during the An'ei period (1772-81), it became a type of Kaomise Kyogen and was refined in its direction, and became widely performed after the end of the Kansei period (around 1800). The Kaomise Kyogen performed in the Kaomise Kyogen is called "Kaomise Danmari," and the performance that applies its characteristics to the opening act of a regional performance is called "Omimise Danmari." In the "Jidai Danmari" scene, the main character, a zagashira actor, plays a great thief wearing a large 100-day wig and dressed as one of the four heavenly kings, and various characters such as a lord dressed as a karikura (hunting monk), a princess, a wandering ascetic, and a young samurai, appear in unique costumes in a rare deep mountain, a wilderness, or a desolate old palace, and they pick up or fight over white flags and other treasures of the family. ...

*Some of the terminology that refers to "kaomise dammari" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…安永期(1772‐81)の江戸歌舞伎において顔見世狂言の仕組みの一類型となって演出の洗練を見，寛政末期(1800年ころ)以後さかんに行われるに至ったものと考えられる。顔見世狂言の中で行われたものを〈顔見世だんまり〉と呼び，その性質を応用して地方興行などの開幕劇に演じるものを〈お目見得だんまり〉と名づける。　〈時代だんまり〉の場面は，人跡まれな深山，曠野，荒涼たる古御所など，座頭（ざがしら）役者の扮する大百日鬘（かつら）に四天（よてん）姿の大盗賊を中心に，狩倉姿の殿様，お姫様，廻国の修験者，若侍などいろいろな役柄の人物が，それぞれ特徴のある扮装で登場，白旗や家の重宝の類を手探りで拾ったり，奪い合ったりする。…

※「顔見世だんまり」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