Takemoto

This refers to the Gidayu-bushi performed in Kabuki plays, and Gidayu-bushi performers who specialize in Kabuki. They perform behind the blinds installed at the top of the stage (on the right side as seen from the audience seats) or on a specially-installed floor. In Gidayu-kyogen, as a rule, the majority of the lines in the Joruri are left to the actors, and the Gidayu performers are responsible for the narration and lines with tunes, but as they often make appropriate arrangements according to the movements of the actors, it has become a specialized occupation. For this reason, they were looked down upon as inferior to the tayu and shamisen players who specialize in Bunraku puppet theatre, and were referred to as "chobo" (the origin of the word is said to come from the tayu putting dots "chobochobo" in the parts that they were responsible for, but there is no definite proof). However, in recent years, given the importance of Gidayu Kyogen in Kabuki, their existence has come to be emphasized, and the National Theatre has been training successors since 1975 (Showa 50).

[Toshiaki Matsui]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

歌舞伎(かぶき)劇で演奏される義太夫(ぎだゆう)節、および歌舞伎専門の義太夫節演奏者のこと。舞台上手(かみて)（観客席から見て右側）の上部に設けられた御簾内(みすうち)、または特設の床(ゆか)で演奏する。義太夫狂言では原則として浄瑠璃(じょうるり)の詞章のうち、台詞(せりふ)の大部分を俳優に任せ、地の文章と台詞のなかで節(ふし)のついた部分を受け持つが、俳優の動きに応じて適宜編曲することも多いので、専門の職種となった。そのため、人形浄瑠璃専門の太夫・三味線より低くみられ、「ちょぼ」（語源は太夫が自分の受け持つ箇所にちょぼちょぼと点を打ったからというが、確証はない）といわれ蔑視(べっし)されたが、近年は歌舞伎における義太夫狂言の重要性からその存在が重視され、国立劇場では1975年（昭和50）から後継者養成を行っている。

［松井俊諭］

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