|SADOSHIMA CHďGORď I|
Line number: SHODAI (I)
Existence: 1700 ~ 13th day of the 7th lunar month of 1757
Grandfather: Sadoshima Dembei
Father: Sadoshima Dempachi
Disciples: Sadoshima Ch˘gor˘ II (???), Sadoshima Ch˘z˘
1700: born in Kamigata. Son of the d˘kegata Sadoshima Dempachi and grandson of Sadoshima Dembei, who headed one of the Onna Kabuki ("Woman Kabuki") companies in Ky˘to. He starts his career at the end of the Sh˘toku era, performing in ďsaka as a wakashugata.
An interesting story about Ch˘gor˘'s youth:
1st lunar month of 1720: Ch˘gor˘ plays in Ky˘to at Miyako Mandayű's theater in the new year drama "Keisei Hachimannichi". He achieves a great success by performing the dance "Nich˘ Tsuzumi". The origin of this dance is quite interesting: while on tour in Ise, Ch˘gor˘ had almost no musician with him and only one instrument, a kotsuzumi (shoulder drum). Ch˘gor˘ cut a piece of bamboo and made an ˘tsuzumi (hip drum) out of it. He decided to call this short dance "Nich˘ Tsuzumi", which literally means "the two drums".
Summer 1730: tour in the Yamato province with Sugiyama Kanzaemon III.
Fall 1731: Ch˘gor˘ goes to Edo.
1st lunar month of 1732: Ch˘gor˘ plays in the same theater the role of Soga Jűr˘ in the new year sogamono "Hatsugoyomi Ainai Soga". His stage partners in the roles of Soga Gor˘ and Kud˘ Saemon Suketsune are Ogino Izabur˘ I and Sawamura S˘jűr˘ I.
1741: Ch˘gor˘ sends an invitation to Ichikawa Ebiz˘ II (and his adopted son Ichikawa Danjűr˘ III) to perform in ďsaka in his theater. The Edo star "demanded an enormous salary for those days, something quite out of the ordinary in the way of remuneration. And Sadoshima Ch˘gor˘, thinking that Ebiz˘ would never ask such a sum unless he had something startling to offer, did not hesitate to comply with the extraordinary request" (ZoŰ Kincaid in "Kabuki, the Popular Stage of Japan"). The sum is 2,000 ry˘!
11th lunar month of 1741: Ch˘gor˘ produces at the ďnishi no Shibai the kaomise drama "Bankoku Taiheiki", which includes the "Uir˘ Uri" scene and stars Ichikawa Ebiz˘ II, Ichikawa Danjűr˘ III, Yamamoto Ky˘shir˘ I, Arashi Shichigor˘ I, Onoe Kikugor˘ I, Yamashita Kinsaku I, Nakamura Jir˘sa I, Band˘ Toyosabur˘ I, Shibazaki Taminosuke, Yamanaka Heijűr˘ II and Yamatogawa Akashi.
Fall 1747: Ch˘gor˘ goes to Edo.
1748: Ch˘gor˘ goes back to Ky˘to, retires from the Kabuki world and takes the tonsure. His new name is Renchib˘ and he settles in front of the famous Kenninji Temple. Later on, he goes to ďsaka and dies there in the 7th lunar month of 1757. His tombstone is located in the precincts of the Yaku˘ji Temple.
"This Sadoshima Ch˘gor˘ was the son of Dempachi, a d˘kegata, or comedian, and a dancer of great skill who was prominent just before Genroku. Ch˘gor˘ was fortunate in having such an experienced stage father, and he was soon apprenticed to dancing. The chroniclers of Kabuki tell how the father taught the boy to dance on the goban, or small table used for playing go, the national chess game. The child was often summoned by persons of high degree to take part in entertainments, and once a prince ordered an artist to make a model of him dancing on the goban. He never seriously competed for a place among the actors, but long remained Kabuki's most famous dancing teacher. When he reached old age he shaved his head and retired from the world, taking up his abode in front of Kenninji, a Buddhist temple of Ky˘to. Sadoshima Ch˘gor˘ left one of Kabuki's literary treasures, the "Sadoshima Nikki", or "Journal of Sadoshima", in which he disclosed the secrets of shosagoto. He criticised the actors of his time as having gone astray from the true path of dramatic art, and reflected in his writing the change that had already set in--the beginning of the decline of Kabuki, for the brilliancy of the Genroku period and the progress of H˘reki were not repeated in the years that followed." (ZoŰ Kincaid in "Kabuki, the Popular Stage of Japan")
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