Actor Review - Yakushahyobanki

Kabuki drama book. From the early Edo period to the early Meiji period, it was published annually as a critique of the actors' skills in Kabuki in Kyoto, Edo, and Osaka (and sometimes Nagoya). The oldest book that remains today is "Yarou Mushi," published in 1659 (Manji 2). In the early days, it was a record of praise for male actors, highlighting their distinctive looks and praising their skills, but as Kabuki grew in theatrical performance, it evolved into a critique of their skills. By 1699 (Genroku 12), "Yakusha Kuchijamisen" (published by Hachimonjiya, Kyoto), it had become possible to develop a more or less fixed form.

The book is in the form of a three-volume set, one each for Kyoto, Edo, and Osaka, in a small, horizontal format with a black cover. The actors are classified by the roles they play, and each is given a rating called a "rank" (Gokujo Jokichi, Jojo Jokichi, Johanshirokichi, Jojo, Jo, etc.), and the theater they belonged to for that year is also listed. The reviews are written in a format where "Hiiki" (particularists) and "Aruguchi" (badmouthers) appear and give various impressions of the actors, praising and criticizing each other, and then the "Todori" (head of the theater) comes on stage and reconciles them by saying "so-so," so while the focus is on praising the actors, it also includes criticism. This is an indispensable and important resource for understanding the history of Kabuki, which has a structure centered on the actors.

[Yukio Hattori]

"Kabuki Hyobanki Research Group, ed., Kabuki Hyobanki Collection" (1st period: 10 volumes and 1 supplementary volume (from "Yaro Mushi" to the end of the Kyoho era), 1972-77; 2nd period: 10 volumes and 1 supplementary volume (from "Yakusha Tanaoroshi" in the second year of the Genbun era to the end of the Meiwa era), 1987-95, Iwanami Shoten)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

歌舞伎(かぶき)劇書。江戸時代初期から明治初頭まで、京・江戸・大坂（ときに名古屋を加える）の歌舞伎を対象に、毎年出版された役者の技芸批評の書物。現在残る最古の書は1659年（万治2）刊『野郎虫(やろうむし)』。初期には野郎役者の容姿の特色をあげ、特技を褒める役者賛仰(さんぎょう)の記だったが、歌舞伎の演劇的成長とともに技芸の批評へと進んだ。1699年（元禄12）刊『役者口三味線(やくしゃくちじゃみせん)』（京・八文字(はちもんじ)屋刊）で、ほぼ一定の型を備えるに至る。

　書物の体裁は、京・江戸・大坂をそれぞれ一冊とする三冊本、黒表紙小形の横本形式。役者を役柄で分類し、それぞれの役者に「位付(くらいづけ)」と称する評価（極上上吉、上上吉、上上半白吉、上上、上など）を与え、当該年度の所属座を明記する。評判は、「ひいき」「わる口」などが登場して、褒貶(ほうへん)さまざまの印象を述べ批評しあうのを、「頭取(とうどり)」が出て「まあまあ」ととりなす形式をとることにより、役者を褒めることに主眼を置きながら、批判も盛り込めるようになっていた。役者中心の構造をもつ歌舞伎史を知るうえで、欠くことのできない重要資料である。

［服部幸雄］

『歌舞伎評判記研究会編『歌舞伎評判記集成』（第1期10巻・別巻1〈『野郎虫』から享保末年まで〉1972～77、第2期10巻・別巻1〈元文2年の『役者多名卸』から明和末年まで〉1987～95・岩波書店）』

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