Segawa Kikunojo - Segawa Kikunojo

Japanese: 瀬川菊之丞 - せがわきくのじょう

Kabuki actor. Stage name: Hamamuraya. Haiku name: Daiyo Rokou.

[Yukio Hattori]

First World

(1693-1749), commonly known as Hamamuraya Jiko. Born as a courtesan in Kamigata, he was originally called Segawa Kichiji, but made his debut in 1709 (6th year of the Hoei period) under the name Segawa Kikunojo. He was a representative female actor of the late Kyoho period (1716-36), and in 1730 (15th year of the Kyoho period) he moved to Edo. He excelled in shosagoto (acting manners), and perfected the shosagoto (acting manners) in "Muken no Kane" and "Stone Bridge". As can be seen from his discussion of his art in "Kokin Yakusha Rongo Sakigake," he lived a thoroughly female daily life and advanced the ideas of the first Yoshizawa Ayame, making him a perfect early master of female actor techniques.

[Yukio Hattori]

II

(1741-73), commonly known as Ouji Rokō. Adopted son of the first generation, he took the stage name as the second generation in 1756 (6th year of the Horeki era). Born in Edo, he was extremely popular as a master female actor, and started trends such as Rokō tea, Rokō musubi, Rokō topknots, and Rokō combs. He was as beautiful as the first generation, and excelled in his art, manners, and the era and the way he handled things.

[Yukio Hattori]

III

(1751-1810) Gomyo Rokou, Sennyo. Commonly known as Sennyo Rokou. The second son of choreographer Ichiyama Shichijuro and the younger brother of the first Segawa Jokou. In 1773 (An'ei 2), he moved from Osaka to Edo, and the following year he took on the name of the third. In 1782 (Tenmei 2), he was ranked as the highest-ranking actor in Edo, and later became the head troupe, which was unusual for a female actor. He was also honored with the title "Hamamuraya Daimyojin." He was beautiful, had excellent eloquence, and excelled in both his choreography and manners.

[Yukio Hattori]

IV

(1782-1812) was known as Saruya Michitaka. He was the adopted son-in-law of the third. In 1807 (Bunka 4), he took the name Segawa Michitaka IV. After his death, he was posthumously awarded the title of Kikunojo IV. He excelled as a daughter and wife.

[Yukio Hattori]

5th

(1802-32), commonly known as Tamon Jiko. He was the second son of Segawa Jizaburo, the third son-in-law. He was popular as a female actor during the Bunka and Bunsei periods (1804-30). He was particularly skilled in the role of a woman actor.

[Yukio Hattori]

VI

(1907-76) was formerly Segawa Sen'yo and was the second Kikujiro. He revived the Segawa family, which had been extinct since 1832 (Tenpo 3), and took the name of the sixth Kikunojo in 1933 (Showa 8). The year before, he had joined the Zenshinza troupe, and was active in a wide range of skillful roles, from female roles and handsome actors to older roles.

[Yukio Hattori]

7th

(1957-) His real name was Tonomura Minoru. He graduated from the Zenshinza training school and his previous name was Yamamura Kunijiro. In 2001, he took on the name of the 7th Kikunojo. He is a capable actor who plays both leading and female roles.

[Yukio Hattori]

"Masakatsu Gunji's annotated commentary on "Kokin Yakusha Rongo Sakigake" (included in "Nihon Shiso Taikei 61 Kinsei Geidoron", 1972, Iwanami Shoten)"

[Reference] | Stone Bridge | Muhen no Kane

Kikunojo Segawa (first generation)
Part of "Portraits of Actors of All Ages" by Utagawa Kunisada (Toyokuni III), published in 1863 (Bunkyu 3), owned by the National Diet Library

Kikunojo Segawa (first generation)

Kikunojo Segawa (II)
Part of "Portraits of Actors of All Ages" by Utagawa Kunisada (Toyokuni III), published in 1863 (Bunkyu 3), owned by the National Diet Library

Kikunojo Segawa (II)

Kikunojo Segawa (5th generation)
"Osen" from "Mishima, one of the 53 Stations of the Tokaido" by Utagawa Kunisada (3rd Toyokuni), owned by the National Diet Library

Kikunojo Segawa (5th generation)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

歌舞伎(かぶき)俳優。屋号浜村屋。俳名は代々路考(ろこう)。

［服部幸雄］

初世

（1693―1749）通称浜村屋路考。上方(かみがた)の色子(いろこ)出身で初め瀬川吉次(きちじ)といったが、1709年（宝永6）瀬川菊之丞と名のって初舞台。享保(きょうほう)（1716～36）後期を代表する女方(おんながた)で、1730年（享保15）江戸に下る。とくに所作事(しょさごと)に優れ、『無間(むけん)の鐘』や『石橋(しゃっきょう)』の所作事を大成した。『古今役者論語魁(さきがけ)』に入っている彼の芸談にみられるように、日常生活を徹底した女性として暮らすことを実践し、初世芳沢(よしざわ)あやめの考えを進めた、女方技術初期の大成者といえる。

［服部幸雄］

2世

（1741―73）通称王子(おうじ)路考。初世の養子。1756年（宝暦6）2世を襲名。江戸生まれの名女方として人気は抜群で、路考茶、路考結(むすび)、路考髷(まげ)、路考櫛(くし)などの流行を引き起こした。初世に劣らぬ美貌(びぼう)で、地芸と所作、時代と世話のいずれにも優れていた。

［服部幸雄］

3世

（1751―1810）後名路考、仙女(せんにょ)。通称仙女路考。振付師市山七十郎(しちじゅうろう)の次男で初世瀬川如皐(じょこう)の実弟。1773年（安永2）大坂から江戸に下り、翌年3世を襲名。82年（天明2）には江戸の俳優の最高位にランクされ、のち女方としては異例の座頭(ざがしら)にもなった。「浜村屋大明神」とも尊称された人。美貌で口跡(こうせき)優れ、地芸・所作事ともによかった。

［服部幸雄］