Kiritake Monjuro

Bunraku puppeteer.

The first generation (1845/1847-1910), real name Kobayashi Fukutaro, was born in Osaka as the son of Kiritake Monjuro, a leading actor in the late Edo period. At the age of 13, he became the apprentice of Yoshida Tatsuzo III, taking the name Tatsusaburo, but at the age of 18 he left Osaka to train in Shinshu and Edo, returning to Osaka in 1876 (Meiji 9) and joining the Bunraku Theatre under the name Kiritake Kamematsu. He soon took on the stage name Monjuro from his father, but due to some opposition he reverted to Kamematsu, and the following year in 1877 he changed his name to Monjuro. He was originally a leading puppeteer, but after returning to the Bunraku theater he became a female puppeteer, specializing in roles such as Masaoka, Hangaku, Tamate, Tonase, Osono, Okinu and Omiwa. He gained popularity with his flamboyant style of performance, and along with the first Yoshida Tamazo, he was one of the leading Bunraku puppeteers of the Meiji period.

The second (1900-1970), real name Isokawa Sakichi. Born in Sakai, Osaka Prefecture. At the age of nine, he became a disciple of the third Yoshida Bungoro, taking the name Kobun. After that, he left his master for a time to work outside of Bunraku, but soon returned. In 1915 (Taisho 4), he took the name of the second Yoshida Minosuke, and in 1927 (Showa 2), he took the name of the second Yoshida Monjuro, and became popular as a young female actor. In 1949, when Bunraku split into two factions, he became the head of the Mitsuwakai (association faction) and expanded his artistic range to include leading roles such as Benkei. In 1965 (Showa 40), he was recognized as a holder of an Important Intangible Cultural Property, and in 1969, he was awarded the Person of Cultural Merit. In his later years, his performances as Akoya, Masaoka, Tamate, Osono, and others, which combined flashy movements with inner depth, were one of the pinnacles of postwar Bunraku.

[Shoichi Yamada July 20, 2018]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

文楽(ぶんらく)人形遣い。

初世（1845／1847―1910）本名小林福太郎。幕末の立役(たちやく)遣いの立者(たてもの)であった桐竹門十郎の子として大坂に生まれる。13歳で3世吉田辰造に入門、辰三郎を名のったが、18歳のとき大坂を離れて信州、江戸で修業、1876年（明治9）大阪に帰り文楽座に入り桐竹亀松を名のる。まもなく父の名跡門十郎を継いだが、一部の反対で亀松に戻り、翌1877年に紋十郎と改名した。もともと立役遣いであったが、文楽座に帰ってから女方遣いになり、政岡(まさおか)、板額(はんがく)、玉手(たまて)、戸無瀬(となせ)、お園、お絹、お三輪などを得意とし、はでな芸風で人気を集め、初世吉田玉造と並んで明治期の文楽人形遣いの代表的存在であった。

2世（1900―1970）本名磯川佐吉。大阪府堺(さかい)市に生まれる。9歳で3世吉田文五郎に入門、小文を名のる。その後一時師匠のもとを去り非文楽系で働いたがまもなく復帰。1915年（大正4）2世吉田簑助(みのすけ)を襲名、1927年（昭和2）2世紋十郎襲名、若手女方遣いとして人気を得た。1949年、文楽の二派分裂では三和会(みつわかい)（組合派）の総帥となり、弁慶などの立役にも芸域を広げた。1965年（昭和40）重要無形文化財保持者に認定、1969年文化功労者。阿古屋(あこや)、政岡、玉手、お園など、はでな動きに内面の深さを加えた晩年の芸は戦後文楽の一つの頂点であった。

［山田庄一　2018年7月20日］

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