Ichikawa Danjuro

Kabuki actor. Stage name: Narita-ya.

The first generation (1660-1704) was from a military family with the surname Horikoshi. Born in Edo, his father was known as "Komo no Juzo." According to popular belief, he made his debut at the age of 14. He is considered the founder of the aragoto art that has been passed down to this day as the "family art" of the Ichikawa family, and was a great actor representing the Edo Kabuki world during the Genroku period (1688-1704). He also wrote plays, and left behind over a dozen Kyogen plays signed by Ichikawa Danjūrō ​​or Misousya Hyogo. Due to a grudge, he was stabbed to death on stage by the actor Ikushima Hanroku.

The second Ichikawa (1688-1758) was the eldest son of the first. He took the stage name at age 16 after his father's death. He resembled his father in looks and physique, and was extremely passionate about the arts, helping to establish a strong position for the Ichikawa family in the Edo theatrical world. He enjoyed haiku and kyoka poetry, and was widely associated with literati. He added a Japanese flavor to "Sukeroku," creating the prototype of the style we see today. In 1735 (Kyoho 20), he changed his name to Ebizo, and continued to perform on stage for many years.

The 3rd (1721-1742) was the adopted son of the 2nd. He took the name of the 3rd in 1735 (Kyoho 20), but died within a few years.

He was the adopted son of the first Koshiro Matsumoto (1711-1778), the 4th . His father was said to be Izumiya Kanjuro, a teahouse owner, but he is also known as the 2nd Danjuro. In 1754 (4th year of the Horeki era), he took the name of the 4th from the 2nd Koshiro. At first, he was an actor who played evil roles, but in his later years, he also excelled at telling the truth. After he retired in 1775 (4th year of the An'ei era), he invited the 5th Danjuro and the 1st Nakamura Nakazo to his home in Kiba, where he held an acting study group called a training lecture, and was loved as the "boss of Kiba."

5th (1741-1806) son of the 4th. In 1770 (Meiwa 7), he took on the stage name from the 3rd Matsumoto Koshiro. He was a talented performer who played a wide range of roles that previous Danjūrō ​​had not played, including female roles such as Iwafuji and Kasane. In 1796 (Kansei 8), he retired from the stage and lived an elegant life under the name Naritaya Shichizaemon, with the kyoka title Hanamichi no Tsurane. He had a wide circle of acquaintances among the leading cultural figures of the time, such as Tatekawa Enba and Shokusanjin.

The 6th (1778-1799) was the adopted son of the 5th. He took the name of the 6th in 1791 (Kansei 3), but died young.

The 7th generation (1791-1859) was the grandson of the 5th generation. He took on the name of the 7th generation at the age of 10 in 1800 (Kansei 12). He was a great actor who was active from the Bunka and Bunsei periods (1804-1830) to the Ansei period (1854-1860), and played a wide range of roles, including rough, serious, evil, gentle, and wicked, and was excellent in the live-action and mannerist roles played by the 4th generation Tsuruya Namboku. In June 1842 (Tenpo 13), he was exiled 10 ri from Edo for violating the Reform Edict, and appeared in plays in Kamigata, but was pardoned in 1849 (Kaei 2) and returned to Edo. In 1832 (Tenpo 3), he had his eldest son succeed him as the 8th generation, and he himself took the name of the 5th generation Ebizo. He premiered "Kanjincho" and also established and publicized the "Kabuki Juhachiban."

The eldest son of the 7th (1823-1854), the 8th. He took the stage name from the 6th Ebizo in 1832 (Tenpo 3). He was skilled in arts and good looks at a young age, and was enthusiastically supported by the people of Edo, but he committed suicide in Osaka at the young age of 32. His hit piece was "Kirare Yoza."

The 9th Kabuki (1838-1903) was the fifth son of the 7th Kabuki. He was adopted by the 6th Kabuki, Kawarasaki Gonnosuke, soon after his birth, but later returned to his parents' home and took the stage name of the 9th Kabuki from Kawarasaki Sansho in 1874 (Meiji 7). He was a leading figure in the Meiji period theatrical world. He was later revered as a "theatrical saint" and was particularly active as a central figure in the theater reform movement, starting a style of historical drama called "katsureki." He also had a huge impact on modern Kabuki, pioneering a performance technique called "hara-gei," which involves studying the personalities and psychology of characters and expressing them in an introverted way. He died on September 13, 1903. The husband of the eldest daughter Suisen (II) was the 10th Danjūrō, and the husband of the second daughter Kyokubai was the 5th Ichikawa Shinnosuke, and the 3rd Shinpa actress Ichikawa Suisen (formerly known as Kobai, 1913-1974) was their child, i.e. the 9th granddaughter.

The 10th generation (1882-1956) was the son-in-law of the 9th generation. He became the 5th generation Ichikawa Sansho from Horikoshi Fukusaburo, and was posthumously bestowed the title of 10th generation after his death.

The 11th Danjūrō ​​(1909-1965), whose real name was Horikoshi Haruo, was the eldest son of the 7th Matsumoto Koshiro. He was adopted by the 10th and took on the stage name of the 9th Ebizo in 1962 (Showa 37). During his time as Ebizo, he was nicknamed "Ebi-sama" and was popular with many for his natural good looks and elegant style of performance. After a long wait, he took on the stage name of the 11th Danjūrō, and his popularity soared, but he passed away on November 10, 1965, just three years after taking on the stage name.

12th (1946-2013) real name Horikoshi Natsuo. Eldest son of the 11th. Made his debut in 1953 (Showa 28) under the name Ichikawa Natsuo. After serving as the 6th Shinnosuke (1958) and the 10th Ebizo (1969), he took on the name of the 12th in April 1985. With his good looks and bright style of performance, he was active as a leading actor representing the Heisei era of Kabuki. His eldest son is the 11th Ichikawa Ebizo (1977- ).

[Yukio Hattori]

"The Generations of Danjūrō ​​by Ihara Seien (1917, Ichikawa Soke)" ▽ "Ichikawa Danjūrō ​​by Kanazawa Yasutaka (1962, Seigabo)" ▽ "Ichikawa Danjūrō ​​by Hattori Yukio (1978, Heibonsha)" ▽ "New edition of Ichikawa Danjūrō ​​by Nishiyama Matsunosuke (1987, Yoshikawa Kobunkan)" ▽ "The 11th Ichikawa Danjūrō ​​by Tonegawa Yutaka (Asahi Bunko)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

歌舞伎(かぶき)俳優。屋号成田屋。

初世（1660―1704）武門の出身で姓は堀越。江戸生まれで、父は「菰(こも)の重蔵」とよばれた人。通説によれば14歳のとき初舞台。市川家の「家の芸」として今日まで伝承されている荒事(あらごと)芸の創始者とされ、元禄(げんろく)期（1688～1704）の江戸の歌舞伎界を代表する名優であった。劇作も兼ね、市川団十郎または三升屋兵庫(みますやひょうご)の署名のある狂言本十数編を残す。怨恨(えんこん)のため、俳優生島(いくしま)半六に舞台で刺殺された。

2世（1688―1758）初世の長男。父の死後16歳で2世を襲名。容貌(ようぼう)、体格とも父に似て、たいへんな芸熱心であったので、江戸劇壇における市川家の確固たる地位を築いた。俳諧(はいかい)や狂歌をたしなみ、文人との交際も広かった。『助六』に和事(わごと)味を加え、今日みるスタイルの原型を創造した。1735年（享保20）海老蔵(えびぞう)と改め、以後長く舞台を勤めた。

3世（1721―1742）2世の養子。1735年（享保20）3世を襲名したが、数年にして没した。

4世（1711―1778）初世松本幸四郎の養子。父は芝居茶屋和泉屋(いずみや)勘十郎と伝えるが、実は2世団十郎ともいう。1754年（宝暦4）2世幸四郎から4世を襲名。初め実悪(じつあく)の俳優であったが、晩年は実事(じつごと)をも得意とした。1775年（安永4）に引退後、5世団十郎や初世中村仲蔵らを木場の自宅に招き、修行講と称する演技研究会を開き、「木場の親玉」の名で慕われた。

5世（1741―1806）4世の子。1770年（明和7）3世松本幸四郎から5世を襲名。これまでの団十郎が勤めなかった役柄を広く演じた実力者で、岩藤や累(かさね)などの女方(おんながた)も演じた。1796年（寛政8）舞台を退いて向島の反古庵(ほごあん)に隠居し、成田屋七左衛門と名のって閑雅な生活を送った。狂歌名は花道のつらね。立川焉馬(たてかわえんば)や蜀山人(しょくさんじん)ら当時一流の文化人と交際が広かった。

6世（1778―1799）5世の養子。1791年（寛政3）に6世を襲名したが、早世。

7世（1791―1859）5世の孫。1800年（寛政12）10歳で7世を襲名。文化・文政期（1804～1830）から安政(あんせい)（1854～1860）に至るまで活躍した名優で、荒事、実事、実悪、和事、色悪(いろあく)などの広い役柄をこなし、4世鶴屋南北(つるやなんぼく)作の生世話(きぜわ)にも所作事(しょさごと)にも優れていた。1842年（天保13）6月、改革令に触れて江戸十里四方追放に処せられ、上方(かみがた)の芝居に出ていたが、1849年（嘉永2）赦免となって江戸に帰った。1832年（天保3）に長男に8世を継がせ、自身は5世海老蔵を名のった。『勧進帳』を初演し、また、「歌舞伎十八番」を制定、公表した。

8世（1823―1854）7世の長男。1832年（天保3）に6世海老蔵から8世を襲名。若くして技芸優れ、美貌(びぼう)であったため江戸人の熱狂的支持を受けたが、32歳の若さで大坂で自殺。『切られ与三(よさ)』が当り芸であった。

9世（1838―1903）7世の五男。生まれてすぐに6世河原崎権之助(かわらさきごんのすけ)の養子になったが、のち実家に帰り、1874年（明治7）河原崎三升(さんしょう)から9世を襲名した。明治期劇界の第一人者。のちに「劇聖」と崇(あが)められた名優で、とくに演劇改良運動の中心人物となって活躍、「活歴(かつれき)」とよぶ史劇を始めたことが特筆に価する。また登場人物の性格や心理を研究して、内向的に表現する「肚芸(はらげい)」とよぶ演技術を開拓するなど、近代歌舞伎に与えた影響は非常に大きい。明治36年9月13日没。長女翠扇(すいせん)（2世）の婿が10世団十郎、次女旭梅(きょくばい)の婿が5世市川新之助で、新派女優3世市川翠扇（前名紅梅、1913―1974）はその子、すなわち9世の孫。

10世（1882―1956）9世の女婿。堀越福三郎から5世市川三升(さんしょう)となり、没後に10世を追贈。

11世（1909―1965）本名堀越治雄。7世松本幸四郎の長男。10世の養子となり、9世海老蔵から1962年（昭和37）に11世を襲名した。海老蔵時代には「海老さま」の愛称でよばれ、天性の美貌と花のある芸風が広く人気を集めた。待望久しくして11世団十郎を襲名し、人気はいよいよ高まったが、襲名後わずか3年、昭和40年11月10日に没した。

12世（1946―2013）本名堀越夏雄。11世の長男。1953年（昭和28）市川夏雄を名のり初舞台。6世新之助（1958）、10世海老蔵（1969）を経て、1985年4月、12世を襲名した。美貌と明るい芸風で、平成歌舞伎を代表する立役(たちやく)として活躍した。長男が11世市川海老蔵（1977―　）である。

［服部幸雄］

『伊原青々園著『団十郎の代々』（1917・市川宗家）』▽『金沢康隆著『市川団十郎』（1962・青蛙房）』▽『服部幸雄著『市川団十郎』（1978・平凡社）』▽『西山松之助著『市川団十郎』新装版（1987・吉川弘文館）』▽『利根川裕著『十一世市川団十郎』（朝日文庫）』

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