|OGINO YAEGIRI I|
Line number: SHODAI (I)
Existence: ??? ~ 1736 (?)
Master: Ogino Ch˘dayű I
??? ~ 1692: he started his career in Ky˘to at an unknown date, as a disciple of the actor Ogino Ch˘dayű I, who gave him the name of Ogino Yaegiri.
Fall 1701: Yaegiri went back to Kamigata.
1st lunar month of 1703: Yaegiri played the role of the courtesan Miyoshino in Chikamatsu Monzaemon's drama "Keisei Mitsu no Kuruma", which was produced in Ky˘to by Yamatoya T˘kichi for the nadai Hayagumo Ch˘dayű.
1st lunar month of 1705: Yaegiri played the role of Junrei in the new year drama "Keisei Hachisu no Ito", which was staged in Ky˘to at Kameya Kumenoj˘'s theater.
Fall 1705: the actors Miogi Naniwa and Ogino Yaegiri went together to Edo.
Fall 1707: Yaegiri went back to ďsaka.
11th lunar month of 1712: Yaegiri played the role of Waka-no-Mae in the drama "Onna Imagawa Seishi no J˘j˘", which was produced by Shinozuka Sh˘matsu I in ďsaka.
1st lunar month of 1715: Yaegiri produced in ďsaka the kaomise drama "(Jing˘ K˘g˘ Sankan Taiji) Ashiwakebune"; he played the role of a t˘fu maker's daughter. He fell ill and had to rest for a few months.
Fall 1718: Yaegiri went back to Ky˘to.
11th lunar month of 1718: Yaegiri performed in Ky˘to in Adachi Sabur˘zaemon's kaomise drama "Shiga no Miyako Kogane no Hanazono", which was produced by Yamatoyama Jinzaemon I for the nadai Ebisuya Kichir˘bŕ.
1st lunar month of 1719: Yaegiri's rank in the Ky˘to hy˘banki, wakaonnagata section, was j˘-j˘-kichi (superior - superior - excellent) [visual]. Yaegiri performed in the same theater in the drama "Kamakura Sandaiki".
7th lunar month of 1723: first Kabuki adaptation in Ky˘to of the puppet theater drama "ďt˘-no-Miya Asahi no Yoroi"; Yaegiri played the roles of Murakami Hikoshir˘ and Nagai's wife Hanazono [more details].
Spring 1727: tour in Ise.
1730: second short stay in Edo; Yaegiri performed for a few months at the Moritaza.
Fall 1730: Yaegiri went back to Kamigata.
11th lunar month of 1730: Yaegiri played in Ky˘to the role of Kasane in Sawamura Bunji's kaomise drama "Inari Yakata Manp˘ no Kura", which was produced by Arashi Koroku I at Hayagumo Ch˘dayű's theater.
2nd lunar month of 1733: Yaegiri went back to Ky˘to and produced the drama "Shimoyo no Hotaru".
12th lunar month of 1735: Yaegiri played 2 roles in the drama "Onna Tokimasa Gunp˘ Hinagata", which was produced in Ky˘to by Yamamoto Ky˘z˘. This was the last-recorded performance of Yaegiri in a major theater.
1736: tour in Nagoya. Yaegiri most likely died the same year.
Ogino Yaegiri I was one of the best wakaonnagata actors of the first third of the eighteenth century. He was popular in both Edo and Kamigata major theaters, excelling in courtesan roles in sewamono dramas. The playwright Chikamatsu Monzaemon had a great esteem for him and gave his name to one of the most famous roles he created: the courtesan Oginoya Yaegiri in his puppet theater drama "Komochi Yamanba".
"Ogino Yaegiri, whose favourite r˘les were those of heroines who have died with their lovers-double suicide, or shinjű, a popular theme of the Doll theatre plays.
Just as Sawamura Ch˘jűr˘ was the representative actor of this later period of Genroku,
so Ogino Yaegiri was the leading tateonnagata."
"Thus, "when being entertained by a Kabuki boy actor, one must be careful never to ask his age". The actors Ihara wrote about in the second (Kabuki) half of "Nanshoku ďkagami" (Great Mirror of Male Love)
were almost all historical people whose existence and characteristics can be verified from independent sources, including Tamamura Kichiya in the story (Bamboo Clappers Strike the Hateful Number)
he introduced with the warning about asking wakashű their ages
(in it an unnamed wakashű is unwillingly revealed to be thirty-eight). "The most extreme example was that of a
kaegema called Hagino Yaegiri. By reason of his profound love for a man, he never wished to know a woman,
and even after the age of sixty he never changed his wakashű dress. Nor did his partner
forget this kaegema, and he always slept with him until they were very old". This rather excessive example is to be
found in a book entitled "Fumoto no Iro" (Colour at the Foot of a Mountain), which appeared in 1769."
Ogino Yaegiri I in a print made by Torii Kiyomasu II at the beginning of the 1730s
The Ogino Yaegiri line of actors
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