New School - Shinpa

Japanese: 新派 - しんぱ

This type of theater was established in the 1890s and focused on family tragedies and geisha. Kabuki, on the other hand, is called the old school. In the 1890s, new theater styles such as "Soshi Shibai" by Sadanori Sudou, "Shosei Shibai" by Otojiro Kawakami, Seibikan by Yoho Ii, Sadao Yamaguchi's troupe, and Shigebei Fukui's troupe emerged in various regions, and the foundations were laid with the series "Mata Igai" about the Soma incident and war dramas about the Sino-Japanese War. After that, as the genre came together and split up, it shed its quirky nature and opened up new horizons in terms of acting by performing adaptations of novels. After the death of Dankikuza (the common name for three kabuki actors who represent the Meiji period: Danjuro Ichikawa IX, Kikugoro Onoe V, and Sadanji Ichi), the new school reached its heyday, known as the Hongoza period. The group declined from the end of the Taisho period to the beginning of the Showa period, but made a comeback with Seto Eiichi's "Nisujimichi" series around 1930-31. It was divided into New Shinpa led by Hanayagi Shotaro, Inoue Masao's Engeki Dojo, and Mainstream Shinpa led by Kitamura Rokuro, but after World War II they all united to become the Gekidan Shinpa. After the deaths of Kitamura, Hanayagi, Oya Ichijiro, and Eitaro, Mizutani Yaeko became the head of the troupe. After Mizutani's death in 1979, the group was led by actresses such as Mizutani Yoshie and Nano Kuriko, and its distinctive character based on female impersonators faded away, and it has not been able to find new writers who can rival the popular writer Kawaguchi Matsutaro, so it no longer has the influence it once had.

Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information

Japanese:

明治 30年代に確立した家庭悲劇，花柳物を主とする演劇。これに対して歌舞伎は旧派と呼ばれる。明治 20年代に角藤定憲 (すどうさだのり) の「壮士芝居」や，川上音二郎の「書生芝居」をはじめ，伊井蓉峰の済美館，山口定雄一座，福井茂兵衛一座などの新演劇が各地で興り，相馬事件を扱った『又意外』の連作や日清の戦争劇で基礎を築いた。その後離合集散のうちに際物 (きわもの) 性を脱皮して，小説の脚色上演で演技面でも新境地を開き，団菊左 (9世市川団十郎，5世尾上菊五郎，1世市川左団次の明治期を代表する歌舞伎俳優3人の通称) の没後，本郷座時代と呼ばれる新派全盛期を迎えた。大正末期から昭和初期にかけて衰えたが，1930～31年頃瀬戸英一の『二筋道』連作で起死回生。花柳章太郎らの新生新派，井上正夫の演劇道場，喜多村緑郎らの本流新派などに分れていたが，第2次世界大戦後，大同団結して劇団新派となる。喜多村，花柳，大矢市次郎，英太郎ら没後は水谷八重子が座頭となった。 79年の水谷の死後，水谷良重，波乃久里子らの女優中心となり，女形の芸を核とする特色も薄れ，加えて人気作家川口松太郎に匹敵するような新たな作者を得られず，かつてほどの勢力はない。

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