Ito Dewa-no-jo

Japanese: 伊藤出羽掾 - いとう・でわのじょう

Year of birth: Year of birth and death unknown. One of the oldest Joruri tayu in Osaka, he also served as the head of the Dewa-za puppet theater. From the Manji to Enpo eras (1658-1681), he enjoyed immense popularity along with Inoue Harima-no-jo. In 1658 (Meireki 4), he was given the title of Dewa-no-jo Fujiwara Nobukatsu (a tayu with the permission of the Imperial Court, or from the Meiji era onwards, the Imperial family, would take on a nominal title with the name of a country attached to it), but it is unclear whether he was the same person as Dewa, whose name appears in the Awazu family documents, Joruri Hon Shinranki Ikka, as a tayu who was sued by the Hongan-ji Temple for performing "Shinranki" in 1648 (Shoho 5). In order to compete with the Kinpei Joruri of Edo, he first created a young man named Kanekichi and told stories of bravery such as "Tenguhautou" and "Raikou Kumogiri", but from the mid-Kanbun period onwards, he produced many works with a strong narrative flavor such as "Yokosone no Heitaro", "Amida Honji", "Chujohime Gohonji" and "Isshin Nigabyaku Michi". His stage direction, which made full use of mechanisms and string manipulation, was particularly popular and was even said to be a specialty of Osaka. He led his school well and sent out such great puppeteers as Okamoto Fumiya, Yamamoto Kakudayu (Tosa no Jo), and Yamamoto Hida no Jo, a master puppeteer. <References> "Kojorurishu/Dewa no Jo Main Edition" edited by Yokoyama Shige (Classical Library), "The Tayu around the Dewa Theater" by Sakaguchi Hiroyuki ("Jinbun Kenkyu" Vol. 26, 3 volumes)

(Hiroyuki Sakaguchi)

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

Japanese:

生年：生没年不詳
大坂最古の古浄瑠璃太夫のひとりで,人形浄瑠璃出羽座の座本を兼ねた。万治から延宝(1658～81)にかけて,井上播磨掾と共に抜群の人気を誇った。明暦4(1658)年受領(太夫が朝廷,明治以降は宮家の許しを受けて,名目的な国名を付した掾号を名乗ること)して出羽掾藤原信勝を名乗ったが,正保5(1648)年に「しんらんき」を上演して,本願寺から訴えられた太夫として粟津家文書の『浄瑠璃本親鸞記一件』にその名のみえる出羽と同人かどうかは判然としない。江戸の金平浄瑠璃に対抗するように,はじめ金吉なる若者を創造し,「天狗羽討」「頼光蜘蛛切」などの武勇物を語ったが,寛文中期以降は,「よこそねの平太郎」「阿弥陀本地」「中将姫御本地」「一心二がびやく道」など,説経色の濃い作柄が多くなった。からくりや糸操を駆使した舞台演出は特に人気を呼び,大坂名物とまでいわれた。一門をよくまとめ,岡本文弥や山本角太夫(土佐掾),さらには人形遣いの名手山本飛騨掾らを世に送り出した。<参考文献>横山重校訂『古浄瑠璃集/出羽掾正本』(古典文庫),阪口弘之「出羽座をめぐる太夫たち」(『人文研究』26巻3分冊)

(阪口弘之)

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