Takeda Izumo

Japanese: 竹田出雲 - たけだいずも

A writer and promoter of Joruri Gidayu-bushi.

First World

(?-1747) alias Senzenken, Geki. In 1705 (2nd year of the Hoei period), he succeeded the first Takemoto Gidayu as head of the Takemoto-za troupe and showed his talent in management, establishing the foundation for the flourishing of puppet theater by inventing degatari (comic storytelling) and dezukai (storytelling), applying karakuri (mechanical tricks), and improving stage techniques. He also wrote joruri under the guidance of Chikamatsu Monzaemon, and left behind 11 solo works such as "Daidairi Otomo no Matori," "Ashiya Doman Ouchi Kagami," and "Sansho Dayu Gonin Musume," as well as 12 collaborative works with Hasegawa Senshi, Bunkodo, and others. "Sokyokunaniwa no Ashi," published just before his death, ranked him as a master of the highest order of merit, and praised him as "like a bubbling cloud of wisdom."

[Jiro Yamamoto]

II

(1691-1756) was the son of the first Izumo, and first took the name Koizumo, and after the death of the first Izumo, he also took the names Senzenken and Gaki. He was a skilled troupe performer, and was known as Oyakata Izumo, dominating the world of puppetry. However, as a Joruri composer, he collaborated with his senior colleagues Namiki Senryu and Miyoshi Shoraku to write masterpieces such as "Sugawara Denju Tenarai Kagami," "Yoshitsune Senbonzakura," "Kanadehon Chushingura," and "Futatsuchocho Kuruwa Nikki," which marked the golden age of Joruri. However, there is also a theory that Izumo was only a name as a stand-up performer, and that Senryu was actually the one who wrote the majority of the works.

[Jiro Yamamoto]

III

Date of birth and death unknown. The son of the second generation, Izumi no Jo, went by the name of Takeda Bunkichi, and was listed as a collaborator in works such as "Sekitori Senryo Nobori" and "Keisei Awa no Naruto". During his generation, the Takemotoza gradually declined, and in 1767 (Meiwa 4), it fell into decline, eventually bringing to an end the three-generation management of the Takemotoza in Izumo.

[Jiro Yamamoto]

[Reference] | Takemotoza

Takeda Izumo (first generation)
©Shogakukan Library ">

Takeda Izumo (first generation)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

浄瑠璃義太夫節(じょうるりぎだゆうぶし)の作者、興行者。

初世

（？―1747）別号千前軒(せんぜんけん)、外記(げき)。1705年（宝永2）初世竹本義太夫の跡を継いで竹本座の座本として経営に才腕を振るい、出語(でがた)り、出遣(でづか)いの創始、からくり応用、舞台技巧の改良などによって、人形浄瑠璃隆盛のもとをつくった。また、近松門左衛門の指導を受けて浄瑠璃を書き、『大内裏大友真鳥(だいだいりおおとものまとり)』『芦屋道満大内鑑(あしやどうまんおおうちかがみ)』『三荘太夫五人嬢(さんしょうだゆうごにんむすめ)』などの単独作を11編、ほかに長谷川千四・文耕堂らとの合作12編を残した。没する直前に出た『操曲浪花蘆(そうきょくなにわのあし)』は名人極上上吉(ごくじょうじょうきち)の位付けをし、「ふつふつと智恵(ちえ)の吹出雲(ふきいずるくも)」との評語を与えている。

［山本二郎］

2世

（1691―1756）初世の子で、初め小出雲、初世没後に2世出雲、また千前軒、外記を襲名した。座本として手腕を振るい、親方出雲と称せられ操(あやつり)界を抑えたが、浄瑠璃作者としては、先輩格の並木千柳(なみきせんりゅう)・三好松洛(みよししょうらく)との合作で『菅原伝授手習鑑(すがわらでんじゅてならいかがみ)』『義経千本桜(よしつねせんぼんざくら)』『仮名手本忠臣蔵』『双蝶々曲輪日記(ふたつちょうちょうくるわにっき)』などの名作を書き、浄瑠璃の最盛期を飾った。ただし立作者(たてさくしゃ)としての出雲は名目だけで、実際には千柳がおもに執筆したとの説もある。

［山本二郎］

3世

生没年未詳。2世の子で和泉掾(いずみのじょう)、竹田文吉を名のり、『関取千両幟(せきとりせんりょうのぼり)』『傾城阿波の鳴門(けいせいあわのなると)』などに合作者として名を連ねている。彼の代になってから竹本座はしだいに衰退し、1767年（明和4）に退転、やがて3代にわたる出雲の竹本座経営も終わった。

［山本二郎］

[参照項目] | 竹本座

竹田出雲（初世）

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

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