The Chronicles of the Dannoura Kabuto War

Joruri Gidayubushi. Historical piece. Five acts. A collaboration between Bunkodo and Hasegawa Senshi. First performed in September 1732 (Kyoho 17) at the Takemotoza in Osaka. Based on Chikamatsu Monzaemon's "Shuse Kagekiyo," this work tells the story of Heike samurai general Akushichibei Kagekiyo, who plots revenge against the Genji after the downfall of his master, and incorporates a love affair with his lover, the prostitute Akoya of Gojozaka. Only the third act, "Horikawa Monjusho," has survived to posterity, and it is often performed as both a puppet theater and a kabuki. It is commonly known as "Akoya no Koto-seime" or "Akoya." Iwanaga Saemon, a Kamakura official searching for Kagekiyo's whereabouts, captures Akoya and attempts to torture her, but Hatakeyama Shigetada has her play three pieces on the koto, shamisen, and kokyu to find out if she knows the whereabouts of her lover, and seeing that the tones are not disturbed in the slightest, he realizes that she is innocent and releases her. The performance of Akoya's three pieces is the highlight of the play, and in Bunraku puppet theater it is a highlight of the shamisen and the techniques of the puppeteer. In Kabuki, this is a play that displays the refinement of the female actor playing Akoya, and in modern times, the role is a hit for Nakamura Utaemon VI. Shigetada and Iwanaga are typical of contrasting roles, with their white makeup and red faces, and Iwanaga in particular is known for his comical acting with his ``puppet dance.''

[Toshiaki Matsui]

"Complete Collection of Japanese Classical Literature 45: Joruri Collection" (1971, Shogakukan), edited and translated by Masataka Yokoyama

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

浄瑠璃義太夫節(じょうるりぎだゆうぶし)。時代物。五段。文耕堂(ぶんこうどう)・長谷川千四(はせがわせんし)合作。1732年（享保17）9月、大坂・竹本座初演。近松門左衛門作の『出世景清(しゅっせかげきよ)』を基に、平家の侍大将悪七兵衛(あくしちびょうえ)景清が主家滅亡後、源氏への報復を企てる話に、愛人五条坂の遊女阿古屋(あこや)との情話を絡ませた作だが、三段目口(くち)の「堀川問注所」だけが後世に残り、人形浄瑠璃でも歌舞伎(かぶき)でもしばしば上演される。通称「阿古屋の琴責め」または「阿古屋」。景清の行方を探す鎌倉方の岩永左衛門(いわながさえもん)は、阿古屋を捕らえ拷問しようとするが、畠山重忠(はたけやましげただ)は阿古屋が愛人のありかを知っているかどうかを探るため、琴・三味線・胡弓(こきゅう)の三曲を弾かせ、その音色にすこしも乱れのないことから彼女の無実を知り釈放させる。阿古屋の三曲の演奏が眼目で、人形浄瑠璃では三味線と人形遣いの技巧の見せどころ。歌舞伎では阿古屋に扮(ふん)する女方(おんながた)のたしなみが発揮される演目で、現代では6世中村歌右衛門(うたえもん)の当り役である。重忠と岩永は白塗りと赤っ面(つら)という対照的な役の典型で、ことに岩永は「人形振り」で滑稽(こっけい)な演技をみせるのが型になっている。

［松井俊諭］

『横山正校注・訳『日本古典文学全集45　浄瑠璃集』（1971・小学館）』

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