Kanze school

(1) A school of Noh. One of the five schools of shite actors. The founder of the school was Kan'ami Kiyotsugu (1333-1384), whose childhood name was Kanzemaru. It was called the Yuzakiza, and belonged to Kofukuji Temple, following the Enmaiza, Tobiza, and Sakatoza, and was one of the four Yamato Sarugaku troupes. After 1374 (Bunchu 3, Oan 7), Kan'ami and Zeami, father and son, with the support of Ashikaga Yoshimitsu, perfected Noh as an art. The third head of the school was Zeami's son Kanze Motomasa. Ashikaga Yoshinori had a special affection for Motomasa's cousin Onami, and appointed him as the next Tayu. The current Kanze family does not count Motomasa as a member of their generation, but considers Otoami to be the third. Otoami's son Kanze Nobumitsu and his son Kanze Nagatoshi supported the successive generations of tayu and created innovative Noh plays to help them weather the turbulent period at the end of the Muromachi period. When the four troupes from the Northern and Southern Courts period and the newly emerging Kita school were incorporated into the Edo Shogunate system as "ceremonial music," the Kanze troupe gained the top position and privileges, thanks in part to the connections of the 7th troupe Kanze Mototada and the 9th troupe Kanze Kokusetsu to Tokugawa Ieyasu. The "Meiwa Reforms," ​​in which the 15th troupe Kanze Motoakira attempted major revisions to the lyrics and direction, are also attracting attention. During the Meiji Restoration, the 22nd head of the Kanze family, Kiyotaka Kanze, moved to Shizuoka together with Tokugawa Yoshinobu, and the 1st head of the Kanze family, Minoru Umewaka, the 5th head of the Kanze family, and others worked to revive Noh in Tokyo. A dispute with the Kanze family over the right to issue licenses led to the establishment of the Umewaka school in 1921 (Taisho 10), but there was also a split within Umewaka, and the matter was resolved in 1954 (Showa 29) when Minoru Umewaka II and his family, Rokuro Umewaka, returned to the Kanze school. From the Taisho to Showa periods, thanks in part to the political skills of the 24th head of the Kanze family, the school established an overwhelming influence with masters such as Manzaburo Umewaka I, Tetsunojo VI (Kasetsu), who returned from Umewaka early, Kyutaro Hashioka, and Yoshiyuki Kanze I. The elegant and gorgeous style of Kanze school Noh is in line with the times, and Kanze school Noh performers make up nearly half of the members of the Nohgaku Association, which covers all schools and roles. The 25th head of the Kanze school, Motomasa (1930-1990), was adopted by Sakon and the great-grandson of Kiyotaka. His eldest son is the current 26th head of the Kanze school, Kiyokazu (1959-). He presides over the Kanze Bunko Foundation. Currently, there are direct descendants of the Sakon family, branches of the main family such as the Kanze Tetsunojyo family (Tessen-kai), the Kanze Yoshino family (Kukō-kai), the Umewaka Rokurō family (Umewaka-kai), the Umewaka Manzaburō family (Kikkō-kai), the Umewaka Naoyoshi family, and the Hashioka family, and in the Kansai region there are the Hayashi and Inoue families that are descended from the Kyoto Kanze family, as well as the Katayama, Oe, Otsuki, Onishi, Sugiura, Urata, Yamamoto, Fujii, and Ueda families. Each family performs at the Kanze Kaikan in Tokyo or Kyoto, or at their own Noh theater, and has their own journal, "Kanze."

(2) A school of Nohgaku kotsuzumi (small drum). It is also called the Shinkuro school. Its founder was Kanze Toyotsugu (grandson of Kanze Nobumitsu).

(3) A school of Noh drums. It is also called Sakichi-ryu. Its founder was Kanze Yoshikuni (son of Otoami).

[Masuda Shozo]

"Nohgaku History" by Kaizo Nonomura (1944, Shunjusha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

(1)能の一流派。シテ方五流の一つ。流祖は幼名を観世丸といった観阿弥清次(かんあみきよつぐ)（1333―1384）。結崎座(ゆうざきざ)と称し、円満井(えんまい)座、外山(とび)座、坂戸(さかと)座に次いで興福寺に属し、大和猿楽(やまとさるがく)四座といわれる。1374年（文中3・応安7）以降、足利義満(あしかがよしみつ)の後援を得た観阿弥・世阿弥(ぜあみ)父子は、能を芸術的に大成した。3世は世阿弥の子観世元雅(もとまさ)。足利義教(よしのり)は元雅の従弟(いとこ)の音阿弥(おんあみ)を偏愛し、次の大夫(たゆう)とした。現在の観世家は元雅を世代に数えず、音阿弥を3世としている。音阿弥の子の観世信光(のぶみつ)や、その子観世長俊(ながとし)らが歴代の大夫を支え、また革新的な能をつくって室町末の動乱期を乗り越えた。南北朝以来の四座と、新興の喜多流が「式楽(しきがく)」として江戸幕府の体制に組み入れられると、7世観世元忠(もとただ)や9世観世黒雪(こくせつ)の徳川家康との縁もあり、観世座は筆頭の地位と特権を得た。15世観世元章(もとあきら)が、詞章と演出に大改訂を試みた「明和(めいわ)の改正」も注目される。明治維新の際、22世観世清孝(きよたか)は、徳川慶喜(よしのぶ)とともに静岡に移り、初世梅若実(みのる)、5世観世銕之丞(てつのじょう)（紅雪）らが東京で能の復興に努めた。その際の免状発行権に関する観世宗家との紛争は、1921年（大正10）梅若流樹立へと発展したが、梅若内部の分裂もあり、1954年（昭和29）2世梅若実・六郎一門の観世復帰で落着した。大正から昭和にかけては、24世観世左近(さこん)の政治的手腕もあり、早く梅若から復帰した初世梅若万三郎、6世観世銕之丞（華雪）や、橋岡久太郎(きゅうたろう)、初世観世喜之(よしゆき)らの名手を擁して、圧倒的な流勢を確立した。優美華麗な芸風は時流にのり、観世流の能楽師は各流各役を網羅する能楽協会会員の過半数に近い。宗家25世観世元正(もとまさ)（1930―1990）は左近の養子で清孝の曽孫(そうそん)。その長男が現宗家26世清和(きよかず)（1959―　）。財団法人観世文庫を主宰。現在は左近直系の人々、宗家の分家である観世銕之丞家（銕仙(てっせん)会）、観世喜之家（九皐(きゅうこう)会）、梅若六郎家（梅若会）、梅若万三郎家（橘香(きっこう)会）、梅若猶義(なおよし)家、橋岡家などがあり、関西では京観世の系統を引く林、井上家や、片山、大江、大槻(おおつき)、大西、杉浦、浦田、山本、藤井、上田家などがある。それぞれ東京・京都の観世会館ほか、各家の能楽堂を拠点として演能活動を行い、機関誌『観世』をもつ。

(2)能楽小鼓の流派。新九郎派ともいう。観世豊次(とよつぐ)（観世信光(のぶみつ)の孫）を流祖とする。

(3)能楽太鼓の流派。左吉流(さきちりゅう)ともいう。観世吉国(よしくに)（音阿弥の子）を流祖とする。

［増田正造］

『野々村戒三著『能楽史話』（1944・春秋社）』

出典　小学館　日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について　情報 | 凡例