Nakamura Utaemon

Kabuki actor.

The first (1714-1791) was born in Kanazawa, Kaga Province (Ishikawa Prefecture) to a doctor's family. His stage name was Kagaya. In 1742 (Kanpo 2), he changed his name from Nakamura Utanosuke to Utaemon. He was active in Kamigata during the Horeki, Meiwa, An'ei, and Tenmei periods (1751-1789), and was primarily affiliated with the first Namiki Shozo, and was a leading figure in the field of practical and criminal law. He later changed his name to Kagaya Kashichi.

The second (1752-1798) was a disciple of the first. He played the role of an enemy in the Kamigata region. In 1782 (Tenmei 2), he was given the name of the second Utaemon by the first, but due to certain circumstances, he returned the name to the Nakamura family in 1790 (Kansei 2) and reverted to his previous name, Nakamura Tozo.

The third (1778-1838) was the biological son of the first. His stage name was Kagaya. His haiku name was Shikan, later Baigyoku. He also worked as a kyogen writer under the name Kanazawa Ryugyoku. In 1791 (Kansei 3), he took the stage name of the third from Kagaya Fukunosuke. Although he was an actor in the Kamigata region, he traveled to Edo three times and performed alongside Bando Mitsugoro III, earning him fame enough to split his popularity between them. His popularity in Osaka was incredible, and he competed with the great actor Arashi Kichisaburo II. He was a great actor representing the Bunka and Bunsei eras (1804-1830), and in 1835 (Tenpo 6) he reached the highest rank of "Kokinburuiki Sogo no Geigashira" (head of all the performing arts in the world). In addition to being a leading actor and a real villain, he also excelled in female roles and Shosagoto, and was given the honorary title of "Kaneru." He easily handled the seven and nine roles in "Chushingura," as well as the seven and nine transformations in Shosagoto, making him the most worthy Kabuki actor of the Kasei period. He was an enthusiastic researcher and had many creative ideas for directing, leaving behind a style that has come to be known as the Baigyoku-gata style.

The 4th (1798-1852) was a famous Edo actor during the late Edo period. He was a disciple of the 3rd. His stage name was Narikoma-ya. He was born as the son of the owner of the Kujaku-chaya teahouse in Edo. He first studied under Fujima Kanjuro, and after working under Nakamura Totaro, Tsurusuke, and Shikan II, he succeeded the 4th Utaemon in Osaka in 1836 (Tenpo 7). Like his master the 3rd, he excelled in leading roles, jitsuaku, budou, aragoto, and onnagata, and was also excellent in shosagoto. Just as the 3rd competed with Mitsugoro III, he also competed for popularity with Mitsugoro IV. He played many successful roles in large-scale period dramas, such as Kumagai in "Ichinotani" and Matsuo in "Sugawara."

Fifth (1865-1940) adopted son of Nakamura Shikan IV. Stage name Narikoma-ya. Haiku name Kaigyoku. As a child, he accompanied his foster father on traveling tours, but in 1881 (Meiji 14) he performed at the Shintomiza Theatre and became Nakamura Fukusuke IV. In 1901 (Meiji 34), he took on the stage name Shikan 5, and in 1911, he took on the stage name Utaemon 5. He was a leading female actor in the Kabuki world from the late Meiji period through the Taisho period and into the early Showa period, and served as chairman of the Kabukiza Executive Arts Committee and president of the Actors' Association as the leader of the Kabuki world after the deaths of the Meiji troupes, Kiku, and Hidari. With his elegant appearance and dignity, he was often good at playing Akahime in period pieces and other roles that required dignity, such as one-sided roles. On the other hand, he also showed enthusiasm for new works, and in particular, his character Yodo-gimi in Tsubouchi Shoyo's works "A Paulownia Leaf" and "The Fall of the Solitary Castle in the Moonlight" was highly praised for its beauty, dignified performance, and the infusion of a modern sensibility into the characters.

6th (1917-2001) real name Kawamura Fujio. Second son of the 5th. Stage name Narikoma-ya. After Kotaro, 6th Fukusuke, and 6th Shikan, he took the stage name of 6th in 1951 (Showa 26). In addition to natural beauty and grace, he cultivated delicate and elegant performance, and showed his unique artistic talent in roles such as the princess in historical dramas, Masaoka in Sendai-hagi, and spirited and energetic courtesans. A leading figure in classical Kabuki onnagata, he served as president of the Japan Actors Association. In 1963, he became a member of the Japan Art Academy, in 1968 he became a holder of the Important Intangible Cultural Property of Kabuki onnagata, and in 1979 he received the Order of Culture.

[Yukio Hattori]

"The 6th Nakamura Utaemon" by Kawamura Fujio (1986, Shogakukan)" ▽ "The 6th Utaemon - The 60 Years of Utaemon" by Yamakawa Shizuo (Iwanami Shinsho)" ▽ "The Fate of the Onnagata" by Watanabe Tamotsu (1974, Kinokuniya Shoten)" ▽ "The 6th Nakamura Utaemon, Onnagata" by Akiyama Katsuhiko (1994, Engeki Shuppansha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

歌舞伎(かぶき)俳優。

初世（1714―1791）加賀(かが)国（石川県）金沢で医師の家に生まれる。屋号加賀屋。1742年（寛保2）中村歌之助から歌右衛門と改名。宝暦(ほうれき)・明和(めいわ)・安永(あんえい)・天明(てんめい)年間（1751～1789）に上方(かみがた)で活躍、主として初世並木正三(しょうざ)と提携し、実悪(じつあく)の第一人者であった。のち加賀屋歌七(かしち)と改名。

2世（1752―1798）初世の門弟。上方の敵(かたき)役。1782年（天明2）初世から譲られて2世歌右衛門を名のったが、事情があって1790年（寛政2）中村家に名を返し、ふたたび前名の中村東蔵(とうぞう)に戻った。

3世（1778―1838）初世の実子。屋号加賀屋。俳名芝翫(しかん)、のちに梅玉(ばいぎょく)。金沢竜玉(りゅうぎょく)と名のって狂言作者を兼ねた。1791年（寛政3）加賀屋福之助から3世を襲名した。上方の俳優であるが、前後3回江戸に下り、3世坂東(ばんどう)三津五郎と競演して人気を二分するほどの名声を得た。大坂での人気はすさまじいばかりで、名優2世嵐吉三郎(あらしきちさぶろう)と対抗して争った。文化・文政(ぶんかぶんせい)年間（1804～1830）を代表する名優で、1835年（天保6）に「古今無類総芸頭(げいがしら)」の最高位に上った。立役(たちやく)、実悪のほか女方(おんながた)や所作事(しょさごと)にも優れ、「兼(か)ネル」という名誉の称号を受けた。『忠臣蔵(ちゅうしんぐら)』の七役・九役、所作事の七変化(へんげ)・九変化などを自由自在にこなし、化政(かせい)期の歌舞伎俳優にもっともふさわしい名優だったといえる。研究熱心で演出上のくふうも多く、後世に梅玉型とよぶ型を残した。

4世（1798―1852）幕末期の江戸の名優。3世の門弟。屋号成駒(なりこま)屋。江戸の孔雀(くじゃく)茶屋の息子に生まれる。初め藤間(ふじま)勘十郎の門に入り、中村藤太郎(とうたろう)、鶴助(つるすけ)、2世芝翫を経て、1836年（天保7）大坂で4世歌右衛門を継いだ。師の3世と同様に、立役、実悪、武道(ぶどう)、荒事(あらごと)、女方を兼ね、所作事にも優れていた。3世が3世三津五郎と競ったように、彼もまた4世三津五郎と人気を争った。『一谷(いちのたに)』の熊谷(くまがい)、『菅原(すがわら)』の松王など、スケールの大きい時代物に当り役が多い。

5世（1865―1940）4世中村芝翫の養子。屋号成駒屋。俳名魁玉(かいぎょく)。幼年時代は養父とともに旅興行に従っていたが、1881年（明治14）新富座(しんとみざ)に出演して4世中村福助となる。1901年（明治34）に5世芝翫、11年に5世歌右衛門を襲名。明治後期から大正を経て昭和初期にかけて歌舞伎界を代表する名女方で、明治の団・菊・左亡きあとの歌舞伎界の統率者として、歌舞伎座幹部技芸委員長や俳優協会会長をも務めた。気品のあふれる容貌(ようぼう)と風格を備え、時代物の赤姫や貫禄(かんろく)を必要とする片はずしの役に当り役が多い。一方、新作にも意欲をみせ、とくに坪内逍遙(しょうよう)作『桐一葉(きりひとは)』『沓手鳥孤城落月(ほととぎすこじょうのらくげつ)』の淀君(よどぎみ)は、その美貌、品格ある芸のうえに近代感覚を注入した人物創造が高く評価された。

6世（1917―2001）本名河村藤雄(ふじお)。5世の次男。屋号成駒屋。児太郎(こたろう)、6世福助、6世芝翫を経て、1951年（昭和26）6世を襲名。天性の美貌、品位のうえに繊細華麗な芸をはぐくみ、時代物の姫、『先代萩(せんだいはぎ)』の政岡(まさおか)などの片はずしの役、意気地や張りをみせる遊女の役などに独自の芸境をみせる。古典歌舞伎女方の第一人者で、日本俳優協会会長を務めた。1963年日本芸術院会員、1968年「歌舞伎女方」の重要無形文化財保持者、1979年には文化勲章を受けた。

［服部幸雄］

『河村藤雄著『六代目中村歌右衛門』（1986・小学館）』▽『6世歌右衛門・山川静夫著『歌右衛門の六十年』（岩波新書）』▽『渡辺保著『女形の運命』（1974・紀伊國屋書店）』▽『秋山勝彦著『女形六世中村歌右衛門』（1994・演劇出版社）』

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