Yaro Kabuki - Yaro Kabuki

The name of a period in early Kabuki. In 1652 (Shoo 1), Wakashu Kabuki was banned on the grounds that it corrupted public morals, but it was allowed to resume the following year on the condition that the actors' bangs were shaved to look like men's heads and that they performed "monomane kyogen tsukushi." From this point onwards, up until the start of the Genroku period (1688-1704), the period is called Yaro Kabuki. In other words, the name was chosen to indicate that it was not the erotic dancing of young men who sold their looks, but rather imitation plays performed by men. Its heyday was around 1661-87 (Kanbun 1-Jokyo 4). This was an important period when Kabuki began to walk the path of becoming a full-fledged form of theater, and the content showed great progress. In addition to establishing the foundations of female actors, various roles were formed, and many acting patterns called "koto" such as "Keiseigoto," "Yatsushigoto," "Aragoto," and "Ikengoto" were created, resulting in a remarkable advancement in acting techniques. Stages were decorated with props, and "tsugi kyogen" (continuous kyogen) performances of two or three consecutive acts were held, and eventually hikimaku (pulled curtains) came to be used. At the same time, the "Yakusha Hyoban-ki" (Actors' Review Book) was published, and criticism of the skills of actors began to be conducted; in every respect, this period can be said to have prepared the way for the first period of perfection that would come in the following Genroku period.

[Yukio Hattori]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

初期歌舞伎における一時期の名称。1652年（承応1）に、風俗が乱れるとの理由で若衆(わかしゅ)歌舞伎が禁止されるが、役者の前髪を剃(そ)り落として野郎頭にすることと、「物真似(ものまね)狂言尽し」を演ずることを条件として、翌年再開を許された。これ以後、元禄(げんろく)時代（1688～1704）に入る前までを野郎歌舞伎（時代）とよぶ。すなわち、容色を売る若衆の扇情的な舞や踊ではなく、野郎が演ずる物真似芝居だという意味の命名であった。1661～87年（寛文1～貞享4）のころを全盛期とする。この時期は、歌舞伎が本格的な演劇としての道を歩き始める重要なときにあたり、内容は飛躍的な進歩を示した。女方(おんながた)の基礎がつくられたほか、各種の役柄が形成され、「傾城買事(けいせいかいごと)」「やつし事」「荒事(あらごと)」「意見事」というように「事」とよんだ多くの演技パターンがつくりだされ、演技術が著しく進歩した。舞台に大道具を飾り、二番続き、三番続きといった「続き狂言」を上演し、やがて引幕(ひきまく)も使用するようになった。一方、「役者評判記」が出版され、俳優の技芸の批評が行われるようになるなど、あらゆる面で、次なる元禄年間の第一次完成期を準備した時代といってよい。

［服部幸雄］

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