Sukeroku - Sukeroku

The common name for characters in joruri, kabuki, and music, as well as works with such characters as protagonists. The source of the story is the double suicide incident that took place at Sennichiji Temple in Osaka, between the townsman Yorozuya Sukeroku and the Shimabara prostitute Agemaki, which took place around the Enpo (1673-81) or Hoei (1704-11) era. In Kyoto and Osaka, it was adapted into a love story based on the facts, and was published in the Itchūbushi "Semi no Nukegara" and "Osaka Sukeroku Shinju Monogatari," as well as the kabuki plays "Sukeroku Shinju Kamiko Sugata" and "Kyo Sukeroku Shinju" (both 1706), and the Bunraku puppet play "Yorozuya Sukeroku II Kamiko ) (written by Namiki Josuke, 1735) and "Kamikojita Teryomen Kagami" (written by Suga Sensuke, 1768) were also created, but in Edo these plays were de-modified into "gangster-themed" plays, and starting with "Hanayakata Aigo no Sakura" in 1713 (Shotoku 3), successive Ichikawa Danjūrō ​​refined the direction of these plays, and they have been passed down to the present day as "Sukeroku Yukari no Edo Sakura," one of the 18 major Kabuki plays. There are many works that have been adapted into dance, such as the Nagauta "Onna Sukeroku" first performed by Segawa Kikunojō 2nd in 1764 (Meiwa 1), but the one that still survives is the Nagauta "Sukeroku" (composed by Kineya Rokuzaemon 10th), which Nakamura Utaemon 4 danced in the "Hanagoyomi Iro no Showake" (1839), a play of eight transformations. Another parody script in the style of a live-action drama is "Kurotte Gumi Sukeroku," which premiered in 1858 (Ansei 5) by Ichikawa Kodanji 4th, and is still performed today under the title "Kurotte Gumi Kuruwa no Tatehiki."

[Toshiaki Matsui]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

浄瑠璃(じょうるり)、歌舞伎(かぶき)劇、音曲などの登場人物、およびこれを主人公とした作品の通称。延宝(えんぽう)（1673～81）または宝永(ほうえい)（1704～11）ごろ、大坂千日寺であったという町人萬屋(よろずや)助六と島原の遊女揚巻(あげまき)の心中事件が典拠で、京坂では事実に沿った情話として脚色、一中節『蝉(せみ)のぬけがら』『大坂助六心中物語』をはじめ、歌舞伎脚本『助六心中紙子姿』『京助六心中』（ともに1706）、人形浄瑠璃『萬屋助六二代(かみこ)』（並木丈助作・1735）、『紙子仕立両面鑑(かみこじたてりょうめんかがみ)』（菅(すが)専助作・1768）などがつくられたが、江戸ではこれから脱化して「侠客(きょうかく)物」となり、1713年（正徳3）の『花館愛護桜(はなやかたあいごのさくら)』以来代々の市川団十郎が演出を洗練し、歌舞伎十八番の一つ『助六由縁江戸桜(ゆかりのえどざくら)』として今日に伝わった。舞踊化作品も1764年（明和1）2世瀬川菊之丞(きくのじょう)初演の長唄(ながうた)『女助六』をはじめ数多いが、なかでは4世中村歌右衛門(うたえもん)が八変化(へんげ)『花翫暦色所八景(はなごよみいろのしょわけ)』（1839）のなかで踊った長唄『助六』（10世杵屋(きねや)六左衛門作曲）が現存。また、生世話(きぜわ)風のパロディーにした脚本に4世市川小団次が1858年（安政5）に初演した「黒手組助六」があり、『黒手組曲輪達引(くるわのたてひき)』の外題で今日も上演される。

［松井俊諭］

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