Gion Festival Faith Record - Gion Saireishinkoki

Joruri Gidayubushi. Historical piece. Five acts. A collaboration between Nakamura Akei, Toyotake Orits, Kokuzosu, Mitsunko, and Asada Iccho. First performed at the Toyotakeza Theater in Osaka in December 1757 (7th year of the Horeki era). Based on the exploits of Oda Nobunaga in the Shinchoki, Oda Harunaga in the play represents Nobunaga, and Konoshita Tokichi represents Kinoshita Hideyoshi. The title comes from the story of Harunaga reviving the Gion Gozu Tenno festival (second act), and the play also features other stories such as Yakuya Zesai, actually Matsushita Kahei (third act), but the most famous is the fourth act, "Kinkakuji Temple." When the puppets were first performed, the lifting and lowering of the Kinkakuji props became popular, and even after it was adapted into a kabuki play the following year, it contributed greatly to the advancement of stage mechanisms.

The rebel Matsunaga Daizen locks the Shogun Ashikaga's mother Keijuin in the upper tower of Kinkakuji Temple, and in love with the painter Kano Sesson's daughter Yukihime, he demands that she obey him. Yukihime, knowing that Daizen is her father's enemy, slashes at him and is instead tied to a cherry tree. However, following the story of her grandfather Sesshu, she gathers cherry blossom petals with her feet and draws a picture of a mouse, which turns into a real mouse and bites through the princess's rope. Konoshita Tokichi pretends to surrender, putting Daizen off guard and rescuing Keijuin. He then leaves Daizen, who is upset, promising to meet him again. With the magnificent Kinkakuji Temple in the background, the play features three roles, Daizen, the leading enemy, Tokichi, the dashing warlord, and Yukihime, the leading female actor, each with their own highlights. In particular, Yukihime is one of the major roles known as the "Three Princesses" of Kabuki, along with Yaegakihime and Tokihime, and some actors even use puppetry to perform the "Tsumasakinezumi" scene, in which she draws a picture of a mouse while tied up.

[Toshiaki Matsui]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

浄瑠璃義太夫節(じょうるりぎだゆうぶし)。時代物。5段。中邑阿契(なかむらあけい)・豊竹応律(とよたけおうりつ)・黒蔵主(こくぞうす)・三津飲子・浅田一鳥(いっちょう)合作。1757年（宝暦7）12月、大坂・豊竹座初演。織田信長の事績『信長記(しんちょうき)』に取材、作中の小田春永(はるなが)が信長、此下東吉(このしたとうきち)が木下藤吉郎秀吉を示す。春永が祇園牛頭天王(ごずてんのう)の祭礼を再興する話（二段目）が名題(なだい)の由来で、ほかに薬屋是斎(ぜさい)実は松下嘉平次の話（三段目）なども扱われているが、有名なのは四段目「金閣寺」。人形初演のとき金閣寺の道具のセリ上げ、セリ下げが評判になり、翌年歌舞伎(かぶき)化されてからも舞台機構の進歩に大きく貢献した。

　謀反人松永大膳(だいぜん)は足利(あしかが)将軍の母慶寿院(けいじゅいん)を金閣寺の楼上に押し込め、絵師狩野雪村(かのうせっそん)の娘雪姫(ゆきひめ)に恋慕して従えと迫る。雪姫は大膳を父の敵(かたき)と知って斬(き)りつけ、逆に桜の木に縛られるが、祖父雪舟(せっしゅう)の故事に倣って足で桜の花びらをかき集めてねずみの絵をかくと、絵は本物のねずみと化して姫の縄を食い切る。此下東吉は降参と見せかけて大膳を油断させ、慶寿院を救い出し、くやしがる大膳と再会を約して別れる。絢爛(けんらん)たる金閣寺を背景に、立敵(たてがたき)の大膳、さっそうたる武将の東吉、立女方(たておやま)の雪姫の3役がそれぞれ見せ場をもつ演目。ことに雪姫は八重垣姫(やえがきひめ)・時姫(ときひめ)とともに歌舞伎の「三姫」といわれる大役の一つで、縛られたままの姿でねずみの絵をかく「爪先鼠(つまさきねずみ)」のくだりは人形振りで演ずる俳優もある。

［松井俊諭］

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