Danzo Ichikawa

Japanese: 市川団蔵 - いちかわだんぞう

Kabuki actor. His stage name is Mikawaya. He was a disciple of Ichikawa Danjūrō I (1684-1740), who specialized in rough plays and villain roles. The lineage has been passed down from the first to the ninth generation, but the 4th, 5th and 7th generations are the most famous. He is part of a lineage of talented actors who have left their mark on the history of Kabuki with their side-school performances that are neither Edo-style nor Kamigata-style.

[Hideo Furuido]

IV

(1745-1808) A disciple of the 3rd, who was the adopted son of the 1st. He was later adopted by the 3rd and took his stage name in 1773 (An'ei 2). He was active between Edo and Osaka, and instead of the one-year contract format that was common at the time, he produced attractive performances one show at a time. While he performed grandiose performances full of emotion, he also focused on appearance with his sword movements, somersaults and quick costume changes, and he left behind a style of traveling theater that was not part of the mainstream of Edo and Osaka.

[Hideo Furuido]

5th

(1788-1845) Adopted son of the 4th. Succeeded to the stage name in 1819 (Bunsei 2). Along with the 3rd Utaemon, he was an Osaka actor who also played an active role in Edo, leaving a legacy of innovative direction. In an era when people preferred to be shy, he was known as a reluctant actor who would turn his back on the audience and deliver his lines, hence the nickname "Shibudan."

[Hideo Furuido]

7th

(1836-1911) Adopted son of the 6th. His real name was Ashizawa Ginzo, and he was a disciple of the 8th Danjūrō, but in his youth, under the name Ichikawa Kuzō, he was mentored by the 4th Kodanjūrō. Later he had a falling out with the 9th Danjūrō, and in 1887 (Meiji 20) he was driven out of the Grand Theater and began working in small theatres, but they reconciled in 1895 and he returned, taking on the name in 1897. His best roles included Nikki Danjō, Takechi Mitsuhide, Takano Moronao, and Sakura Sōgo, and he remains the so-called Danjō style.

[Hideo Furuido]

8th

(1882-1966) The second son of the 7th generation. He took the name in 1943 (Showa 18). He played a supporting role in the Nakamura Kichiemon theater company, but held a retirement performance in 1966 (Showa 41), and committed suicide by drowning after making a pilgrimage to Shikoku in the same year.

[Hideo Furuido]

IX

(1951-) The 8th generation grandson Ginnosuke took over the name in 1987 (Showa 62).

[Hideo Furuido]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

歌舞伎(かぶき)俳優。屋号三河屋(みかわや)。初世市川団十郎の門下で、荒事(あらごと)、敵役(かたきやく)を得意とした初世（1684―1740）から9世まで継承されるが、4世、5世、7世が有名。代々江戸風でも上方(かみがた)風でもない傍流の演出を歌舞伎史上に残した異能俳優の系譜をなす。

［古井戸秀夫］

4世

（1745―1808）初世の養子である3世の門弟。のち3世の養子となり、1773年（安永2）襲名。江戸と大坂を往来して活躍し、当時の常識であった1年契約の方式をとらず、一興行ずつの魅力的な舞台を展開した。思い入れたっぷりの大時代な演技をみせる一方、立回りやとんぼ返り、早替りといった見た目本位の演出をし、江戸、大坂の本流にない旅芝居式の型を残した。

［古井戸秀夫］

5世

（1788―1845）4世の養子。1819年（文政2）襲名。3世歌右衛門(うたえもん)とともに、大坂の役者として江戸でも活躍し、新演出を残した。はで好みの時代に、見物に背を向けて台詞(せりふ)をいうような渋がり屋で、「渋団(しぶだん)」とよばれた。

［古井戸秀夫］

7世

（1836―1911）6世の養子。本名芦沢(あしざわ)銀蔵、8世団十郎の弟子だったが、市川九蔵(くぞう)を名のった青年時代、4世小団次(こだんじ)の薫陶(くんとう)を受ける。のち9世団十郎と不和になり、1887年（明治20）大劇場を追われ、小芝居に出勤したが、95年に和解して復帰、97年襲名。当り役に仁木弾正(にっきだんじょう)、武智(たけち)光秀、高師直(こうのもろなお)、佐倉宗吾(そうご)などがあり、いわゆる団蔵型を残す。

［古井戸秀夫］