Kuro Hosho

Japanese: 宝生九郎 - ほうしょうくろう

Noh actor. The nickname of the head of the Hosho school of Noh shite, which includes the 8th to 13th, 16th and 17th generations, but the 16th is particularly famous.

[Masuda Shozo]

16th

(1837-1917) His real name was Tomoharu Hōshō. His childhood name was Ishinosuke. He was born in Kanda, Edo. He was known as one of the Three Masters of the Meiji Period, along with Umewaka Minoru and Sakurama Banma. He is said to be the last truly tayu. His debut performance was in "Sekidera Yoichi" at the age of six in the inner citadel of Edo Castle. When the shogunate fell, he decided to retire and leave Noh, aiming to become a merchant or farmer, which gives an idea of the turmoil of the time. In 1878 (Meiji 11), he became the head of the Imperial Household Ministry's Noh Department, and thereafter became a pillar of the revival of Noh. He reigned over the Meiji Noh world with his high character, unparalleled insight, detailed knowledge of historical facts, elegant artistic ability, and outstandingly beautiful voice. He performed his last Noh performance in "Ataka" at the age of 70, and thereafter devoted himself to training the next generation of performers. Among his pupils were such masters as Matsumoto Nagashi, Noguchi Kanesuke and Kondo Kenzo. His strict training was well known. A film depicting Ishinosuke's time as a young boy in the last Kanjin Noh performance (1848) at the end of the Edo period was "The Lion's Seat" (1953) directed by Ito Daisuke, with Hasegawa Kazuo playing his father, the 15th Hosho Tayu Tomoyuki, and Tsugawa Masahiko playing Ishinosuke. His book "Noh Play Oral Tradition" was published.

[Masuda Shozo]

17th

(1900-1974) The second son of the branch family of Hōshō Kanai, Masaru. Born in Kyoto. Succeeded as head of the family at the age of 18, taking the name Shigefusa, and later assuming the stage name Kuro. A solid performing style, he also excelled in political acumen, a key player in the world of Noh. He was a member of the Japan Art Academy. His successor, Hōshō Fusao (1920-1995), is the 18th head of the family, Hōshō Fusateru (1958-2010) is the 19th head, and Hōshō Kazufusa (1986- ) is the 20th head.

[Masuda Shozo]

[References] | Umewaka Minoru | Kanjin Noh | Sakurama Banma | Hosho School

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

能楽師。能のシテ方宝生流宗家の通り名で、8世～13世、16世と17世が名のるが、とくに16世が有名。

［増田正造］

16世

（1837―1917）本名宝生知栄(ともはる)。幼名石之助。江戸・神田に生まれる。梅若実(うめわかみのる)、桜間伴馬(さくらまばんま)とともに明治三名人とうたわれた。最後の太夫(たゆう)らしい太夫といわれる。初舞台は6歳で江戸城本丸の『関寺与市』。幕府が倒れると、隠居を決意して能を離れ、商人あるいは農業を志したというから、当時の混乱ぶりがしのばれる。1878年（明治11）宮内省御能係となり、以後、能楽復興の支柱となる。人格の高さ、たぐいない識見、故実の詳しさ、気品ある芸格、抜群の美声で、明治能楽界に君臨した。70歳の『安宅(あたか)』で能を舞い納め、以後は後進の養成に没頭した。門下に松本長(ながし)、野口兼資(かねすけ)、近藤乾三(けんぞう)らの名手が輩出。その厳しい稽古(けいこ)ぶりは有名であった。幕末最後の勧進能(かんじんのう)（1848）における少年石之助時代を描いた映画に、伊藤大輔(だいすけ)監督の『獅子(しし)の座』（1953）があり、父15世宝生太夫友于(ともゆき)に長谷川一夫(はせがわかずお)、石之助に津川雅彦(まさひこ)が扮(ふん)した。著書に『謡曲口伝』。

［増田正造］

17世

（1900―1974）分家宝生嘉内の次男勝。京都に生まれる。18歳で宗家継承、重英(しげふさ)と名のり、のちに九郎を襲名。堅実な芸風であり、能楽界の要(かなめ)となる政治的な手腕にも優れた。芸術院会員。その嗣子(しし)宝生英雄(ふさお)（1920―1995）が18世、宝生英照(ふさてる)（1958―2010）が19世、宝生和英(かずふさ)（1986―　）が20世として宗家を継承している。

［増田正造］

[参照項目] | 梅若実 | 勧進能 | 桜間伴馬 | 宝生流

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