Ichimura Uzaemon

Japanese: 市村羽左衛門 - いちむらうざえもん

Kabuki actor and theater owner. In the past, the character Uzaemon was used. It was the stage name of the owner of Ichimura-za, one of the three Edo theaters, and the owners of Ichimura-za's predecessor, Murayama Matasaburo and Murayama Kuroemon, are also counted in the family line, and are considered the first and second generations, respectively. In addition, the successive owners of Ichimura-za are also counted in the family line, and there are currently 17 generations. Here we will list the generations who were active as actors.

[Hideo Furuido]

III

(1635-86) The first head of the Ichimura Uzaemon family. He started out as an actor before moving on to become the head of the troupe. He went on to develop kyogen, curtains, props, and cut-offs, and established the foundations of the Ichimura Theatre, known as the originator of grand theatrical performances.

[Hideo Furuido]

IV

(1654-1718) He was the nephew of the third head of the Ichimura family and was adopted, succeeding the head of the troupe under the name of the first head, Ichimura Takenojo. He also worked as an actor, playing the role of Saigyo, but later he had a change of heart, shaved his head, and entered Jissho-in Temple in Honjo, commonly known as Takenojo-ji Temple.

[Hideo Furuido]

8th

(1698-1762) The third son of Kikuya Zenbei, a tea master at the Ichimura Theater. He was the first to use the name Uzaemon, and was active as an actor, with "Wankyu" being his family's art.

[Hideo Furuido]

IX

(1725-85) Son of the 8th. In 1762 (12th year of the Horeki era), he succeeded the head of the troupe and took on the name. A famous actor of the Horeki era (1751-64). A pioneer of Bungo-bushi Joruri Shosagoto. As the legitimate successor to the rough art of Ichikawa Danjūrō II, he handed down "Ya no Ne" and "Shibaraku" to the 5th Danjūrō.

[Hideo Furuido]

12th

(1812-51) The second son of the 11th. In 1821 (Bunsei 4), he inherited the position of head of the troupe and took on the name. He was skilled in dance, and was active during the late Edo period as both a leading actor and a female actor. His stage name was Tachibanaya.

[Hideo Furuido]

13th

He was the second son of the 12th generation, and his former name was the 5th generation Onoe Kikugorou.

[Hideo Furuido]

14th

(1847-93) The third son of the 12th head of the family and the younger brother of the 5th head of the family, Kikugorou. He later took the name of the first head of the family, Bandō Kakkitsu.

[Hideo Furuido]

15th

(1874-1945). His real name was Ichimura Rokutaro. He was the adopted son of the 14th generation. His stage name was Tachibanaya. He was no longer the head of the troupe from the 15th generation onwards. After serving as Bando Chikumatsu and the 6th Ichimura Ie Tachibana, he took on the stage name in 1903 (Meiji 36). His clean-cut appearance, refreshing diction, and bright, lively and elegant style of performance captivated many. He excelled in the role of sabaki (assassin) in period kyogen such as Sukeroku and Togashi in "Kanjincho", as well as handsome Edo sewamono characters such as Kirare Yosa and Nao Samurai, and the image of the roles he created is still felt to this day.

[Hideo Furuido]

16th

(1905-52) His real name was Ichimura Isamu. He was adopted by the 15th generation. He took on the name in 1947 (Showa 22). He was a leading actor and a female actor.

[Hideo Furuido]

17th

(1916-2001) His real name was Bando Mamoru. He was the son of Bando Hikosaburo VI. He took the name in 1955 (Showa 30). He held a leadership position as a member of the Kikugoro Theater Company. In 1990 (Heisei 2), he was named a holder of an Important Intangible Cultural Property, in 1991 a member of the Japan Art Academy, and in 1999 a Person of Cultural Merit.

[Hideo Furuido]

[Reference item] | Ichimura Theater

Uzaemon Ichimura (12th generation)
Utagawa Kunisada (3rd Toyokuni) painting "Oiso, one of the Fifty-three Stations of the Tokaido" "Juro Sukenari" National Diet Library

Uzaemon Ichimura (12th generation)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

歌舞伎(かぶき)俳優、座元。古くは宇左衛門の字を使う。江戸三座の一つ市村座の座元の名跡(みょうせき)で、市村座の前身村山座の座元村山又三郎(またさぶろう)と村山九郎右衛門(くろうえもん)も家系に数え、それぞれ初世、2世とするほか、市村座代々の座元も家系に数え、現在17世まである。ここでは俳優として活躍した代々をあげる。

［古井戸秀夫］

3世

（1635―86）市村宇左衛門の初世。俳優から座元となる。続き狂言や引幕(ひきまく)、大道具、切り落しなどをくふうし、「大芝居」の元祖と称する市村座の基礎をつくる。

［古井戸秀夫］

4世

（1654―1718）3世の甥(おい)で養子となり、初世市村竹之丞(たけのじょう)の名前で座元を継ぐ。俳優も勤め、西行(さいぎょう)を当り役としたが、のち発心(ほっしん)して剃髪(ていはつ)し、通称竹之丞寺とよばれる本所・自性院に入る。

［古井戸秀夫］

8世

（1698―1762）市村座の茶屋菊屋善兵衛の三男。初めて羽左衛門の字を使い、俳優としても活躍し、『椀久(わんきゅう)』を家の芸とする。

［古井戸秀夫］

9世

（1725―85）8世の子。1762年（宝暦12）座元を継ぐとともに襲名。宝暦(ほうれき)期（1751～64）の名優。豊後節浄瑠璃所作事(ぶんごぶしじょうるりしょさごと)の先駆者。2世市川団十郎の荒事(あらごと)芸の正統な継承者として、『矢の根』『暫(しばらく)』を5世団十郎に伝承した。

［古井戸秀夫］

12世

（1812―51）11世の次男。1821年（文政4）座元を相続し、襲名。舞踊に長じ、立役(たちやく)、女方(おんながた)を兼ね、幕末期に活躍した。屋号橘屋(たちばなや)。

［古井戸秀夫］

13世

12世の次男で、5世尾上(おのえ)菊五郎の前名。

［古井戸秀夫］

14世

（1847―93）12世の三男で、5世菊五郎の弟。のちに初世坂東家橘(ばんどうかきつ)を名のる。

［古井戸秀夫］

15世

（1874―1945）本名市村録太郎。14世の養子。屋号橘屋。この15世から座元ではなくなる。坂東竹松、6世市村家橘を経て、1903年（明治36）襲名。すっきりした容姿、さわやかな口跡(こうせき)、明るく闊達(かったつ)で花のある芸風は万人を魅了した。助六、『勧進帳』の富樫(とがし)をはじめ、実盛(さねもり)や盛綱などの時代狂言の捌(さば)き役や、切られ与三(よさ)、直侍(なおざむらい)のような江戸世話物の二枚目を得意とし、彼の創造した役のイメージは現代にまで伝わっている。

［古井戸秀夫］