Masataka Takemoto - Takemoto Masataka

Japanese: 竹本政太夫 - たけもとまさたゆう

A Gidayu performer. Along with his stage name Takemoto Gidayu, this name is considered important in the Takemotoza school, and has produced many masters for generations.

[Yoshihiro Kurata]

First World

(1691-1744) A disciple of Takemoto Gidayu. In 1715 (Shotoku 5), the year after Gidayu's death, he changed his name from Wakatake Masadayu to Takemoto Masadayu. Although he spoke softly, he expressed emotions such as joy, anger, sorrow and happiness well, and he wrote many hits, including "Kokusenya Kassen," and was called the founder of the revival of Joruri. In 1704 (Kyoho 19), he succeeded the second Gidayu. The following year, he was appointed Takemoto Kazusa no Shojo. In 1705 (Genbun 2), he was appointed Takemoto Harima no Shojo again.

[Yoshihiro Kurata]

II

(1710-1765) A merchant from the Zakoba area of Osaka, he was commonly known as Zakoba Masadayu or Nishiguchi Masadayu. He was a disciple of the first Takemoto-za and later adopted by the company. He brought the Takemoto-za to its heyday with productions such as "Sugawara Denju Tenarai Kagami," "Yoshitsune Senbonzakura," and "Kanadehon Chushingura."

[Yoshihiro Kurata]

III

He was a disciple of the second (1732-1811). He was popularly known as Shiomachi Masatayu, and was also called Nakatayu no Masatayu after his former name. He established a completely different style of performance from the conventional style, using a technique of changing the way of speaking for each character. His signature performance was the "Kawasho" act in Shinjuten no Amijima. Both the fourth (1750-1833) and fifth (1780-1840) were masters who played the yagurashita role. However, there was a dispute over the succession of the sixth, and the wish of the fourth Shigetayu was not fulfilled, so Okadayu (1815-97) from Tokyo took over in 1893 (Meiji 26).

[Yoshihiro Kurata]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

義太夫(ぎだゆう)節の大夫。竹本義太夫という芸名とともに、竹本座系では重要視される名前で、代々名手が輩出した。

［倉田喜弘］

初世

（1691―1744）竹本義太夫の門弟。義太夫が没した翌1715年（正徳5）和歌竹政太夫から竹本政太夫と改名。小音ながら喜怒哀楽の情(じょう)をよく語り、『国性爺合戦』(こくせんやかっせん)をはじめ数多くの当りをとって、浄瑠璃(じょうるり)中興の祖といわれた。34年（享保19）2世義太夫を継ぐ。翌年竹本上総少掾(かずさのしょうじょう)を受領(ずりょう)。さらに37年（元文2）に再受領して、竹本播磨少掾(はりまのしょうじょう)となる。

［倉田喜弘］

2世

（1710―65）大坂雑喉場(ざこば)の商人で、俗に雑喉場政太夫とも西口政太夫ともいう。初世の門弟、のち養子となる。『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)などの上演により、竹本座に全盛期をもたらした。

［倉田喜弘］

3世

（1732―1811）2世の門弟。俗称を塩町政太夫、また前名にちなんで中太夫の政太夫ともいう。登場人物ごとに語り口を変える技巧を使い、従来とはまったく違った演奏法を確立した。一代の当り芸は『心中天網島』(しんじゅうてんのあみじま)「河庄」(かわしょう)の段である。4世（1750―1833）も5世（1780―1840）も櫓下(やぐらした)を勤めた名手であった。なお6世の襲名は紛議をおこし、4世重太夫の願いは実らず、東京の岡太夫（1815―97）が1893年（明治26）に継いだ。

［倉田喜弘］

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