|NAMIKI SHďZď I|
Line number: SHODAI (I)
Existence: 1730 ~ 17th day of the 2nd lunar month of 1773
Master: Namiki S˘suke
11th lunar month of 1749: he takes back the name of Izumiya Sh˘z˘ and works at the ďnishi no Shibai on the kaomise drama "Kotobuki Kogane no Kachi Ikusa", which is produced by the zamoto Mimasu Daigor˘ I, celebrates the shűmei of Murayama Heijűr˘ V and stars the actors Band˘ Toyosabur˘ I, Arashi Sanjűr˘ II, Iwai Hanshir˘ III, Sanj˘ Namie I, Iwata Somematsu I, Mimasu Daigor˘ I (the zamoto) and Nakamura Utaemon I.
1751: he becomes a disciple of the puppet theater playwright Namiki S˘suke; he takes the name of Namiki Sh˘z˘ I.
7th day of the 9th lunar month of 1751: his master Namiki S˘suke dies.
12th lunar month of 1751: premiere in ďsaka at the Toyotakeza of the puppet play "Ichi-no-Tani Futaba Gunki"; Sh˘z˘ was one of the sakusha who worked under the supervision of Namiki S˘suke to write this drama.
11th lunar month of 1752: Sh˘z˘ goes back to the Kabuki world, becoming tatesakusha at the Kado no Shibai, where he writes the kaomise drama "Nagoya Ori Hinatsuru no Nishiki", which stars Fujikawa Heikur˘, Sakata T˘jűr˘ III, Arashi Koroku I, Fujikawa Hachiz˘ I, Mimasu Daigor˘ I (the zamoto) and Yoshizawa Sakinosuke II.
12th lunar month of 1758: premiere at the Kado no Shibai of Sh˘z˘'s drama "Sanjukkoku Yobune no Hajimari"; for the very first time in Kabuki history, a mawaributai, invented by Sh˘z˘, is built and used on the stage of a theater [more details].
2nd lunar month of 1773: Sh˘z˘'s drama "Nippon Daiichi Mekari no Shinji" is staged in the same theater; this is his final creation.
17th day of the 2nd lunar month of 1773: Sh˘z˘ dies in ďsaka.
"Namiki Sh˘z˘ (1730~1773) was one of the most prominent sakusha
in Ky˘to, during the middle decades of the eighteenth century. He studied under one of
the best ningy˘ shibai playwrights,
Namiki S˘suke, and wrote for the dolls as well as for the actors. In his time the vogue
for the Doll-theatre had already begun to wane, and allured by the superior attractions
of Kabuki he wrote more for the latter than for the dolls. His plays were full of
complicated situations that tested the actor's ability, a technique he had acquired
as a result of his apprenticeship to the ningy˘ school,
which demanded many situations to keep the movements of the marionettes full of significance,
for otherwise their dollships would have become all too apparent."
Namiki Sh˘z˘ I
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