Title - Nadai

(1) A term used in Kabuki and Joruri. It refers to the title of a Kyogen play, and in Kamigata it was called "gedai" (also written as geidai). The title given to the entire Kyogen play was called oomyodai (called daigaidai in Kamigata), and those that hint at the content of each act were called komyodai. For good luck reasons, daimyodai are customarily written with odd numbers (positive numbers), and most are five or seven characters long. Therefore, there are many examples of unusual characters being created or difficult to read. Because they are long and difficult to pronounce, abbreviations (common names or popular names) are generally used. Examples include calling "Kanadehon Chushingura" "Chushingura," the tenth act of "Ehon Taikoki" "Taiju," and "Yowanasake Ukina no Yokogushi" "Kirare Yosa." The official titles of these works are sometimes called "hon meidai." The term "joruri meidai" was also used.

(2) A Kabuki term. Abbreviation of Myodai-yakusha (Myodai actor) and Myodai-shita (Myodai actor). During the Edo period, among the various signs that were hung in front of the theater at each performance, those related to Myodai were called "Myodai-banban". Among them, the "Daimyodai-banban" (Daimyodai signboard) was especially large and beautifully made, and it was customary to display the stage images of the main actors of the troupe as pictures or dolls above it. The very limited number of actors selected for this were called "Myodai-yakusha" (Myodai actor), or "Myodai" for short. At the end of the Edo period, the concept was somewhat broadened, and it became the title of Tatemono (standing person) as the highest rank of the actor hierarchy, regardless of the signboard. In modern times, the concept has been broadened further, and it has become a term indicating the top of the two categories of actor status (Myodai and Myodai-shita). In principle, Kabuki actors can be promoted to "Myodai" if they pass the Myodai exam, which is held once every two years. "Meidai" is a title that indicates recognition as a full-fledged Kabuki actor, and there are differences in the treatment that one receives.

[Yukio Hattori]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

（1）歌舞伎(かぶき)・浄瑠璃(じょうるり)用語。狂言の題名のことで、上方(かみがた)では「外題(げだい)」（芸題とも表記）と称した。狂言全体につける題名を大(おお)名題（上方は「大外題」）、各幕の内容を暗示するものを小(こ)名題といった。大名題は縁起上、奇数（陽の数）の文字にする慣習があり、ほとんどが五字か七字である。したがって、特殊な文字をつくったり、無理な読み方をする例が多い。長くてよびにくいため、略称（通称・俗称）が一般に用いられる。『仮名手本忠臣蔵(かなでほんちゅうしんぐら)』を「忠臣蔵」、『絵本太功記』の十段目を「太十(たいじゅう)」、『与話情浮名横櫛(よわなさけうきなのよこぐし)』を「切られ与三(よさ)」などとよぶのが、その例である。これに対する正式の題名を「本(ほん)名題」ということも行われている。「浄瑠璃名題」の語も用いられた。

（2）歌舞伎用語。名題役者、名題俳優の略。江戸時代に、興行のつど劇場の正面に掲げたいろいろな看板のうち、名題に関係のあるものをとくに「名題看板」といった。それらのうち、格別に大形でりっぱにこしらえるのが、一日の狂言全体の題名である大名題を記した「大名題看板」であり、その上方に一座の主要な俳優たちの舞台姿を絵組みや人形にして飾ることが約束になっていた。ここに選ばれる、ごく限られた俳優のことを「名題役者」とよび、略して「名題」と称した。幕末には、やや概念の枠が広がり、とくに看板とはかかわりなく俳優の階級区分の最高位として、立者(たてもの)の称となっていた。現代では、さらに概念の範囲が広がり、俳優の身分上の二区分（名題と名題下(した)）の上位を示す用語になった。歌舞伎俳優は原則として2年に一度行われる名題試験に合格すると「名題」に昇進できる。「名題」は一人前の歌舞伎俳優として認められたことを示す称号であり、その待遇にも差が生じる。

［服部幸雄］

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