Bando Mitsugoro

A Kabuki actor. His stage name has been Yamatoya for generations.

The first (1745-1782) was originally called Takeda Minosuke and was an actor from Kamigata, but was adopted by the first Bando Sanpachi and given the name Mitsugoro. He made a name for himself in Edo. He was a master of the Wajitsu style.

Second Generation (1750-1829) In 1785 (Tenmei 5), the first generation Onoe Monzaburo succeeded the second generation and became a leading figure. Later he was named the second generation Ogino Isaburo.

The 3rd (1775-1831) was the son of the 1st. He succeeded Bando Minosuke in 1799 (Kansei 11) and competed for popularity with the famous Kamigata actor Nakamura Utaemon the 3rd, becoming a representative actor of the Bunka and Bunsei periods (1804-1830). He had a fine appearance and showed excellent skills in all roles, including choreography, manners, period plays and scenes. He was particularly skilled in wamitsu. He was hailed as the greatest master of manners in Edo, and was popular for his numerous transformation dances, such as "Asazumabune," "Ganninbouzu," "Kairaishi," "Yamagaeri," and "Genda." He had a second home at Eikigashi in Fukagawa, Edo, so he was affectionately known as "Eiki no Oyakata."

4th Generation (1800-1863) Adopted son of the 3rd Generation. Succeeded the 4th Generation from the 2nd Generation Bando Minosuke in 1832 (Tenpo 3). Inherited the 3rd Generation's style of performance, was good at harmony and excelled in lively performances. As a master of Shosagoto, he rivaled the 4th Generation Nakamura Utaemon in popularity. He suffered a stroke in his later years and was nicknamed "Yoi Mitsu." In 1850 (Kaei 3), he took on the stage name of the 11th Generation Morita Kan'ya.

The 5th (1813-1855) was the adopted son of the 3rd and the brother-in-law of the 4th. He was a female actor with excellent appearance and eloquence, and performed under the name of Bando Shiuka. He excelled in the role of evil women, and was especially recognized for his work with Ichikawa Danjūrō ​​VIII, creating the decadent beauty of the late Edo period. After his death, he was posthumously awarded the title of the 5th Mitsugoro.

The 6th (1841-1873) was a female actor active from the end of the Edo period to the beginning of the Meiji period. She was the son of the 5th. She succeeded the 6th in 1856 (Ansei 3). She was popular and was nicknamed "Aba Mitsu" (abata mits) because she had a scar on her face.

He was the eldest son of the 12th Morita Kanya, the 7th (1882-1961). His real name was Morita Jusaku. Formerly known as Bando Yasosuke II, he succeeded the 7th in 1906 (Meiji 39). He became the head of the Ichimura-za Theatre as a young man. Together with Onoe Kikugoro VI and Nakamura Kichiemon I, he supported Kabuki in the Taisho and Showa periods. He was also a master of dance and was highly regarded as an accurate successor to traditional arts. He was made a member of the Japan Art Academy in 1949 (Showa 24), recognized as a holder of the Important Intangible Cultural Property of Kabuki dance in 1955, and was awarded the title of Person of Cultural Merit in 1960.

8th (1906-1975) - adopted son of the 7th. Real name Morita Toshiro. Original name was 3rd Yasosuke. Succeeded the 6th Bando Minosuke as the 8th in 1962 (Showa 37). He excelled in playing evil and old men, and excelled in dance. For a time he belonged to the Kansai Kabuki school, and became a collaborator of the so-called Takechi Kabuki, where he instructed young actors. An avid researcher, he was the author of many books, including "Gijyo Gigo." In 1973, he was recognized as a holder of an Important Intangible Cultural Property, but died suddenly of puffer fish poisoning.

The 9th (1929-1999) third son of Bando Shucho 3rd. In 1955 (Showa 30), he married the eldest daughter of Bando Mitsugoro 8th and was adopted. His previous names were Yasosuke 4th and Minosuke 7th. After his father's death, he took on the name Mitsugoro, head of the Bando school, and in September 1987, he succeeded the 9th as a Kabuki actor.

The eldest son of the 9th generation (1956-2015), the 10th generation (1956-2015). He made his debut in 1962 (Showa 37). His previous name was the 5th generation Yasosuke. He was active not only in Kabuki but also in theater and film. He succeeded the 10th generation in January 2001 (Heisei 13). He was awarded the Japan Art Academy Prize in 2005.

[Yukio Hattori]

"The Seventh Mitsugoro: Tales of Dance and Performing Arts" edited by Tokura Koichi (1977, Engeki Shuppansha)" ▽ "The Playhouse Tales" by the 8th Bando Mitsugoro (1968, Chuokoron-Shinsha)" ▽ "Kabuki: Flowers and Fruit" by the 8th Bando Mitsugoro (1976, Tamagawa University Press)" ▽ "The Heart of the Arts" by the 8th Bando Mitsugoro and Ando Tsuruo (1982, Pelicansha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

歌舞伎(かぶき)俳優。屋号は代々大和屋(やまとや)。

初世（1745―1782）初め竹田巳之助(みのすけ)といい上方(かみがた)の俳優であったが、初世坂東三八が養子にして三津五郎と名のらせた。江戸に下って名をあげた。和実(わじつ)の名手。

2世（1750―1829）1785年（天明5）初世尾上紋三郎が2世を継ぎ、大立者になった。後名2世荻野伊三郎。

3世（1775―1831）初世の子。1799年（寛政11）坂東簑助(みのすけ)から3世を継ぎ、上方の名優3世中村歌右衛門(うたえもん)と人気を争い、文化・文政期（1804～1830）の代表的名優となった。風姿がりっぱで、地芸と所作、時代と世話、どんな役にも優れた技量を示した。とくに和実を得意とした。江戸随一の所作事の名人ともてはやされ、『浅妻船(あさづまぶね)』『願人坊主(がんにんぼうず)』『傀儡師(かいらいし)』『山帰り』『源太(げんだ)』など数々の変化(へんげ)舞踊を演じ、人気があった。江戸深川の永木河岸(えいきがし)に別宅があったので「永木の親方」と親しまれた。

4世（1800―1863）3世の養子。1832年（天保3）2世坂東簑助から4世を継ぐ。3世の芸風を受け継ぎ、和実をよくし、生世話(きぜわ)に優れていた。所作事の名手として、4世中村歌右衛門と対抗して人気を二分した。晩年に中風を病んだので「ヨイ三津」とあだ名された。1850年（嘉永3）11世森田勘弥を襲名。

5世（1813―1855）3世の養子。4世の義弟。風姿と口跡に優れた女方(おんながた)で、坂東しうかと名のって活躍、伝法肌のいわゆる悪婆(あくば)の役を得意とし、とくに8世市川団十郎とのコンビで演じた幕末期の退廃的な美の創造が認められている。死後、5世三津五郎を追贈。

6世（1841―1873）幕末から明治初期にかけて活躍した女方。5世の子。1856年（安政3）6世を継ぐ。顔にあばたがあったので「あば三津」とあだ名でよばれ、人気があった。

7世（1882―1961）12世守田勘弥(もりたかんや)の長男。本名守田寿作。前名2世坂東八十助(やそすけ)。1906年（明治39）7世を継ぐ。青年時代に市村座の座頭(ざがしら)になった。6世尾上菊五郎(おのえきくごろう)、初世中村吉右衛門(きちえもん)らとともに、大正・昭和の歌舞伎を支えた。舞踊の名人でもあり、かつ伝統的技芸の正確な継承者としても重んじられた。1949年（昭和24）芸術院会員、1955年歌舞伎舞踊の重要無形文化財保持者に認定され、1960年文化功労者。

8世（1906―1975）7世の養子。本名守田俊郎。初名3世八十助。1962年（昭和37）6世坂東簑助から8世を継ぐ。実悪(じつあく)、老(ふけ)役を得意とし、舞踊に優れていた。一時期関西歌舞伎に属し、いわゆる武智(たけち)歌舞伎の協力者となって若手俳優を指導した。研究熱心な俳優で、『戯場戯語』ほかの著書も多い。1973年、重要無形文化財保持者に認定されたが、フグ中毒で急逝。

9世（1929―1999）3世坂東秀調(しゅうちょう)の三男。1955年（昭和30）8世三津五郎の長女と結婚し養子となる。前名4世八十助、7世簑助。父の死により坂東流家元の三津五郎を襲名し、1987年9月、歌舞伎俳優としての9世を継ぐ。

10世（1956―2015）9世の長男。1962年（昭和37）に初舞台。前名5世八十助。歌舞伎以外でも、舞台や映画で活躍。2001年（平成13）1月、10世を継ぐ。2005年度日本芸術院賞受賞。

［服部幸雄］

『利倉幸一編著『七世三津五郎　舞踊芸話』（1977・演劇出版社）』▽『8世坂東三津五郎著『戯場戯語』（1968・中央公論社）』▽『8世坂東三津五郎著『歌舞伎　花と実』（1976・玉川大学出版部）』▽『8世坂東三津五郎・安藤鶴夫著『芸のこころ』（1982・ぺりかん社）』

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