Tatsumatsu Hachirobei

Japanese: 辰松八郎兵衛 - たつまつ・はちろべえ

Year of death: May 9, 1734 (June 10, 1734)
Year of birth: Unknown. A master puppeteer in the early and mid-Edo period. Place of birth unknown. He joined the Takemotoza puppet theater company from its inception, and was skilled at manipulating female puppets. However, in addition to the simple one-person puppets that were mainstream at the time, he also used tezuma puppets and karakuri puppets, and showed off his skills with one-handed puppets, three-handed puppets, and five-handed puppets on the attached stage. He was always enthusiastic about directing and stage mechanisms, such as inventing a twisted handrail that allows the body of the puppeteer to be seen from the audience, and attaching feet to female puppets, and contributed to the development of puppet theater. Ohatsu's movements in the "Kannon-mawari Doyuki" from "The Love Suicides at Sonezaki" (1703) were so well-received that they were imitated by female kabuki actors, and he later guest-performed in kabuki in Kyoto, and was also successful in the "Kaneiri no Dan" from "Yomei Tenno Shokunin Kagami." In 1707, shortly after the establishment of the Toyotakeza, which had been suspended due to poor performance, he revived it with the help of the first Toyotake Wakatayu and a co-starring troupe. In 1715, he again took part in the performance of the masterpiece "Kokusenya Kassen" at the Takemotoza. In 1719, he went to Edo and founded the Tatsumatsuza in Sakaimachi. He had many disciples, including Kazuko Kosuke, and the hairstyles of himself and the female puppets he controlled were called Tatsumatsukaze and Tatsumatsu Shimada and were popular with the common people. Stage drawings and overwritten lines of his plays for "Kyosei Hakkagata," "Sonezaki Shinju," and "Uzuki no Momiji" remain. <References> "Gidayu Chronology/Early Modern Period 1," "Ningyo Joruri Stage History" compiled by the Ningyo Stage Research Society

(Hirata Sumiko)

Source: Asahi Japanese Historical Biography: Asahi Shimbun Publications Inc. About Asahi Japanese Historical Biography

Japanese:

没年：享保19.5.9(1734.6.10)
生年：生年不詳
江戸前・中期,人形浄瑠璃の人形遣いの名手。出身地未詳。人形浄瑠璃竹本座に創設当初から加わり,女形人形を遣うのを得意としていたが,当時主流であった一人遣いの素朴な人形に,手妻人形,からくり人形をも併用し,付舞台での出遣いで片手人形,三つ人形,五つ人形などの妙技を見せた。人形を操る人間の身体が客席から透けて見える捩手摺を考案したり,女形人形に足を付けて遣うなど,演出や舞台機構にも終始意欲的に臨み,人形浄瑠璃の発展に寄与した。「曾根崎心中」(1703)の「観音廻り道行」におけるお初の所作は歌舞伎の女形が真似するほどの評判を取り,その後京都の歌舞伎にも客演,「用明天王職人鑑」の「鐘入りの段」の出遣いにも成功した。宝永4(1707)年には,旗揚げ後間もなく豊竹座が不振により中断していたのを初代豊竹若太夫と相座本で再興させた。正徳5(1715)年には再び竹本座で傑作「国性爺合戦」上演に加わった。享保4(1719)年江戸に下り,堺町に辰松座を創設。一子幸助ほか門人も多く,彼自身や彼の遣う女形人形の髪型が辰松風,辰松島田などと呼ばれ庶民に好まれた。「傾城八花形」「曾根崎心中」「卯月の紅葉」などの彼の舞台図や口上書きが残っている。<参考文献>『義太夫年表/近世篇1』,人形舞台研究会編『人形浄瑠璃舞台史』

(平田澄子)

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