Takemotoza

A theater for puppet theater. The first Takemoto Gidayu (Chikugo no Jo) partnered with the impresario Takeya Shobei to establish the theater in Dotonbori, Osaka, in 1684 (Jokyo 1). With Chikamatsu Monzaemon as the playwright, Tatsumatsu Hachirobei as the puppeteer, and Takezawa Gon'emon as the shamisen player, the theater brought a breath of fresh air to the world of puppet theater. However, it was pushed aside by Takeda Karakuri plays and Kabuki, and was unable to prosper financially. However, it paid off its debts with the big success of "The Love Suicides at Sonezaki" in 1703 (Genroku 16). After Chikugonojo retired due to illness, the first Takeda Izumo became the head of the troupe and took over management in 1705 (Hoei 2). With Chikugonojo running again, the company revamped its performance policy and revived its declining fortunes. After Chikugonojo's death in 1714 (Shotoku 4), Masatayu succeeded the second Gidayu (Harima no Shojo) and established a solid position for the Takemotoza with the great success of "Kokusenya Kassen." After Chikamatsu's death, other authors who contributed to the prosperity of the Takemotoza included head troupe Izumo, Bunkodo, Hasegawa Senshi, Namiki Senryu, Miyoshi Shouraku, and puppeteer Yoshida Bunzaburo. Thus, in the mid-18th century (the end of the Kyoho era to the Horeki era), Ningyo Joruri reached its golden age, producing a succession of masterpieces such as "Sugawara Denju Tenarai Kagami," "Yoshitsune Senbonzakura," and "Kanadehon Chushingura," and together with the Toyotakeza (founded in 1703), it overwhelmed Kabuki. At the time, the Takemotoza's solemn style of performance was called Nishifuu (West Wind) and the flashy Toyotakeza was called Higashifu (East Wind). It subsequently declined due to the rise of Kabuki, and despite the efforts of the last great performer, Chikamatsu Hanji, it fell into decline in 1767 (Meiwa 4) during the reign of Izumo III, and although it was briefly revived afterwards, it did not last.

[Jiro Yamamoto]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

人形浄瑠璃(じょうるり)の劇場。初世竹本義太夫(ぎだゆう)（筑後掾(ちくごのじょう)）が興行師竹屋庄兵衛(しょうべえ)と提携し、1684年（貞享1）大坂道頓堀(どうとんぼり)に創設、作者に近松門左衛門、人形遣いに辰松(たつまつ)八郎兵衛、三味線に竹沢権右衛門(ごんえもん)らを擁し、浄瑠璃界に新風をおこした。しかし竹田からくり芝居や歌舞伎(かぶき)に押されて経済的には恵まれなかったが、1703年（元禄16）の『曽根崎心中(そねざきしんじゅう)』の大当りで負債を返した。筑後掾が病気引退したのち、1705年（宝永2）初世竹田出雲(いずも)が座本となって経営を引き受け、筑後掾の再出馬を得て興行方針を刷新、傾いた座運を盛り返した。1714年（正徳4）筑後掾の没後、政太夫が2世義太夫（播磨少掾(はりまのしょうじょう)）を継ぎ、『国性爺合戦(こくせんやかっせん)』の大成功によって竹本座の確固たる地位を築いた。近松の死後の作者には、座本の出雲、文耕堂、長谷川千四、並木千柳(せんりゅう)、三好松洛(みよししょうらく)ら、人形遣いに吉田文三郎があって、竹本座の隆盛に貢献した。かくて18世紀中ごろ（享保末～宝暦）には人形浄瑠璃全盛期を迎え、『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(かなでほんちゅうしんぐら)』などの名作を続々上場して、豊竹(とよたけ)座（1703創設）とともに歌舞伎を圧倒した。当時竹本座のじみな芸風を西風(にしふう)、はでな豊竹座を東風とよんだ。その後、歌舞伎の興隆に押されて衰え、最後の名作者近松半二の努力もむなしく、3世出雲の代の1767年（明和4）に退転、その後一時復興したが続かなかった。

［山本二郎］

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