Matsumoto Koshiro VII
Encyclopedia
Matsumoto Kōshirō VII(12 May 1870-27 January 1949) was one of the leading tachiyaku
Kabuki
actors of Japan's Meiji period
(1868–1912) through the late 1940s.
, in which an actor's guild name is shouted out as a cheer or encouragement during a performance. Following in his birth father's footsteps as a master of traditional dance, he bore the stage name Fujima Kan'emon III within that context. In his first appearance on the Kabuki stage, he took the name Ichikawa Kintarō, and would later take the names Ichikawa Somegorō IV and Ichikawa Komazō VIII before coming to be known as the seventh Matsumoto Kōshirō
.
(traditional dance) master Fujima Kan'emon II, he was adopted into the kabuki theatre by Ichikawa Danjūrō IX
, who then became his master. Kōshirō's sons would come to take the stage names Ichikawa Danjūrō XI, Matsumoto Kōshirō VIII
, and Onoe Shōroku II
; his son-in-law, Nakamura Jakuemon IV
, was also an actor, along with many of Kōshirō's grandsons and great-grandsons.
theatre.
He would also take part in the 1911 opening ceremonies of the Imperial Theater
, and took the name Matsumoto Kōshirō at a shūmei
naming ceremony there only a few months later. Along with the onnagata Onoe Baikō VI and wagotoshi Sawamura Sōjūrō VII, Kōshirō became one of the leading actors of the troupe. Over the following years, he would perform, often alongside these two compatriots, in a number of productions in Tokyo, Kyoto and Osaka, a rare feat for a Kabuki actor. This was in large part due to the differences between the Tokyo (Edo
) and Kyoto-Osaka (Kamigata
) styles of acting; few actors were particularly successful at performing in both regions. Two of his more common roles in this period, which he played in multiple cities, were those of Nikko Danjō in Meiboku Sendai Hagi and the warrior-monk Benkei in Kanjinchō
. Though a specialist in male roles, and in particular the aragoto
warrior roles like Benkei, Kōshirō did on occasion also play women, such as Lady Yoshio in Meiboku Sendai Hagi.
Continuing the trade of his birth father, Kōshirō became the head of the Fujima dance school in 1917, and took his father's name, becoming Fujima Kan'emon III; he would use this name when performing buyō traditional dance, but continued to be known as Kōshirō in the theatre world.
Kōshirō continued to perform in all three major cities through World War II
, and made his last stage appearance in December 1948, at the Shinbashi Enbujō
in Tokyo.
Tachiyaku
' is a term used in the Japanese theatrical form kabuki to refer to young adult male roles, and to the actors who play those roles. Though not all tachiyaku roles are heroes, the term does not encompass roles such as villains or comic figures, which form their own separate categories...
Kabuki
Kabuki
is classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers.The individual kanji characters, from left to right, mean sing , dance , and skill...
actors of Japan's Meiji period
Meiji period
The , also known as the Meiji era, is a Japanese era which extended from September 1868 through July 1912. This period represents the first half of the Empire of Japan.- Meiji Restoration and the emperor :...
(1868–1912) through the late 1940s.
Names
Like most Kabuki actors, Kōshirō held a number of stage names (gō) over the course of his career. A member of the Kōraiya guild, he would often be called by that name, particularly in the practice of yagōYAGO
YAGO was an early LAN startup acquired by Cabletron Systems in the mid-1990s, fueling its growth into Gigabit Ethernet switching and ultimately being re-spun off into the entity Riverstone Networks....
, in which an actor's guild name is shouted out as a cheer or encouragement during a performance. Following in his birth father's footsteps as a master of traditional dance, he bore the stage name Fujima Kan'emon III within that context. In his first appearance on the Kabuki stage, he took the name Ichikawa Kintarō, and would later take the names Ichikawa Somegorō IV and Ichikawa Komazō VIII before coming to be known as the seventh Matsumoto Kōshirō
Matsumoto Koshiro
Matsumoto Kōshirō is the stage name of a line of kabuki actors in Japan. Most of these were blood relatives, though some were adopted into the family....
.
Lineage
The son of buyōBuyo
or is a traditional Japanese performing art, a mixture of dance and pantomime.- Japanese classical dance :******-Video:* * Japanese Dance * *...
(traditional dance) master Fujima Kan'emon II, he was adopted into the kabuki theatre by Ichikawa Danjūrō IX
Ichikawa Danjuro IX
Ichikawa Danjūrō IX was one of the most successful and famous Kabuki actors of the Meiji period ....
, who then became his master. Kōshirō's sons would come to take the stage names Ichikawa Danjūrō XI, Matsumoto Kōshirō VIII
Matsumoto Hakuo I
, born , was a Japanese Kabuki actor, regarded as the leading tachiyaku of the postwar decades; he also performed in a number of non-kabuki venues, including Western theatre and films...
, and Onoe Shōroku II
Onoe Shoroku II
Onoe Shoroku II is the stage name for Yutaka Fujima a Japanese kabuki actor who specialized in female roles....
; his son-in-law, Nakamura Jakuemon IV
Nakamura Jakuemon IV
-Biography:In 1991 the Japanese government designated him as a Living National Treasure.-Further reading:*Beautiful boys/outlaw bodies: devising Kabuki female-likeness, 2005, By Katherine Mezur...
, was also an actor, along with many of Kōshirō's grandsons and great-grandsons.
Life and career
Taking the name Ichikawa Kintarō, he made his stage debut in 1881, at the age of eleven. In 1893, by then having become Ichikawa Somegorō IV, he took part in the opening ceremonies of Tokyo's Meiji-zaMeiji-za
The is a theatre in Chūō, Tokyo, Japan. It was originally constructed in 1873. It presents kabuki and Western stage plays....
theatre.
He would also take part in the 1911 opening ceremonies of the Imperial Theater
Imperial Garden Theater
The is a Japanese theater located in Marunouchi, Chiyoda, Tokyo, Japan operated by Toho. Opened in 1911 as the first Western-style theater in Japan, it stages a varied program of musicals and operas.-External links:...
, and took the name Matsumoto Kōshirō at a shūmei
Shumei
Shūmei are grand naming ceremonies held in Kabuki theatre. Most often, a number of actors will participate in a single ceremony, taking on new stage-names....
naming ceremony there only a few months later. Along with the onnagata Onoe Baikō VI and wagotoshi Sawamura Sōjūrō VII, Kōshirō became one of the leading actors of the troupe. Over the following years, he would perform, often alongside these two compatriots, in a number of productions in Tokyo, Kyoto and Osaka, a rare feat for a Kabuki actor. This was in large part due to the differences between the Tokyo (Edo
Edo
, also romanized as Yedo or Yeddo, is the former name of the Japanese capital Tokyo, and was the seat of power for the Tokugawa shogunate which ruled Japan from 1603 to 1868...
) and Kyoto-Osaka (Kamigata
Kamigata
Kamigata is a region of Japan referring to the cities of Kyoto and Osaka; the term is used particularly when discussing elements of Edo period urban culture such as ukiyo-e and kabuki, and when making a comparison to the urban culture of the Edo/Tokyo region.Kabuki, ukiyo-e, and many of the other...
) styles of acting; few actors were particularly successful at performing in both regions. Two of his more common roles in this period, which he played in multiple cities, were those of Nikko Danjō in Meiboku Sendai Hagi and the warrior-monk Benkei in Kanjinchō
Kanjincho
Kanjinchō is a Japanese kabuki play by Namiki Gohei III, based on the Noh play Ataka. It is one of the most popular plays in the modern kabuki repertory....
. Though a specialist in male roles, and in particular the aragoto
Aragoto
, or rough style, is a style of kabuki acting that uses exaggerated, dynamic kata and speech. Often, aragoto actors wear bold red or blue makeup , and have costumes that are padded and enlarged...
warrior roles like Benkei, Kōshirō did on occasion also play women, such as Lady Yoshio in Meiboku Sendai Hagi.
Continuing the trade of his birth father, Kōshirō became the head of the Fujima dance school in 1917, and took his father's name, becoming Fujima Kan'emon III; he would use this name when performing buyō traditional dance, but continued to be known as Kōshirō in the theatre world.
Kōshirō continued to perform in all three major cities through World War II
World War II
World War II, or the Second World War , was a global conflict lasting from 1939 to 1945, involving most of the world's nations—including all of the great powers—eventually forming two opposing military alliances: the Allies and the Axis...
, and made his last stage appearance in December 1948, at the Shinbashi Enbujō
Shinbashi Enbujo
The ' is a theatre in the Ginza neighborhood of Tokyo, Japan. It is a major kabuki venue, though other types of performances take place there as well....
in Tokyo.
See also
- Matsumoto KōshirōMatsumoto KoshiroMatsumoto Kōshirō is the stage name of a line of kabuki actors in Japan. Most of these were blood relatives, though some were adopted into the family....
- line of kabuki actors