| OGINO YAEGIRI I |
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Line number: SHODAI (I) Existence: ??? ~ 1736 (?) Connections: Master: Ogino Chôdayû I Disciples: Ogino Izaburô I, Ogino Yaegiri II, Ogino Toyoriki, Ogino Umenosuke (?) Career: ??? ~ 1692: he started his career in Kyôto at an unknown date, as a disciple of the actor Ogino Chôdayû I, who gave him the name of Ogino Yaegiri. 11th lunar month of 1692: Yaegiri achieved a great success in Edo at the Nakamuraza by performing in the drama "Hôben Shinoda-zuma". 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 Kyôto by Yamatoya Tôkichi for the nadai Hayagumo Chôdayû. 1st lunar month of 1705: Yaegiri played the role of Junrei in the new year drama "Keisei Hachisu no Ito", which was staged in Kyôto at Kameya Kumenojô's theater. Fall 1705: the actors Miogi Naniwa and Ogino Yaegiri went together to Edo. 11th lunar month of 1705: Yaegiri performed at the Yamamuraza in the kaomise drama "Kawachi Gayoi". 3rd lunar month of 1707: Yaegiri played at the Yamamuraza the role of Princess Chûjô in the drama "Keisei Mikaeri Honzon". Fall 1707: Yaegiri went back to Ôsaka. 11th lunar month of 1707: Yaegiri played in Ôsaka the role of Princess Komatsu in Azuma Sanpachi's kaomise drama "Onna Daimyô Irekozan". 11th lunar month of 1709: Yaegiri became zamoto and produced in Ôsaka the drama "Maiôgi Masaki no Kazura". 11th lunar month of 1710: Yaegiri performed in Ôsaka in the kaomise drama "Shusse Yakushi Jûnishin", which was produced by Arashi Sanjûrô I. 1st lunar month of 1711: Yaegiri's rank in the Ôsaka hyôbanki, wakaonnagata section, was jô-jô-kichi (superior - superior - excellent) [visual]. 11th lunar month of 1711: Yaegiri coproduced with Miyazaki Denkichi in Ôsaka the drama "Futabashira Aioi Chôja". 11th lunar month of 1712: Yaegiri played the role of Waka-no-Mae in the drama "Onna Imagawa Seishi no Jôjô", which was produced by Shinozuka Shômatsu I in Ôsaka. 11th lunar month of 1713: Yaegiri coproduced with Arashi San'emon III in Ôsaka Azuma Sanpachi's kaomise drama "Onna Fude Yôbunshô"; he played the role of Osome. 1st lunar month of 1715: Yaegiri produced in Ôsaka the kaomise drama "(Jingô Kôgô Sankan Taiji) Ashiwakebune"; he played the role of a tôfu maker's daughter. He fell ill and had to rest for a few months. 1st lunar month of 1716: Yaegiri was back on stage and played the role of Komachi in the drama "Ôkazari Monomi Guruma", which was produced in Ôsaka by Sawamura Chôjûrô I. 12th lunar month of 1716: Yaegiri coproduced with Arashi Daizaburô I in Ôsaka the kaomise drama "Chô Hanagata Sangoku no Mukoiri"; he played the role of Omaki. Fall 1718: Yaegiri went back to Kyôto. 11th lunar month of 1718: Yaegiri performed in Kyôto in Adachi Saburôzaemon's kaomise drama "Shiga no Miyako Kogane no Hanazono", which was produced by Yamatoyama Jinzaemon I for the nadai Ebisuya Kichirôbê. 1st lunar month of 1719: Yaegiri's rank in the Kyôto hyôbanki, wakaonnagata section, was jô-jô-kichi (superior - superior - excellent) [visual]. Yaegiri performed in the same theater in the drama "Kamakura Sandaiki". 12th lunar month of 1719: Yaegiri played the role of Oshige in the drama "Yamato Ôji Meoto Izumi", which was produced in Kyôto by Sawamura Chôjûrô I. Spring 1721: Yaegiri became zamoto and produced in Kyôto the drama "Bankoku Kin no Fukujusô"; he played the role of the courtesan Takahashi. 11th lunar month of 1721: Yaegiri produced in Kyôto at Hoteiya Umenojô's theater the kaomise drama "Banshiki Kogane no Miyako". 11th lunar month of 1722: Yaegiri produced in Kyôto at Hoteiya Umenojô's theater the kaomise drama "Aioi Ôshimadai", in which he played the role of Kanzaemon's younger sister Oshige. 1st lunar month of 1723: Yaegiri's rank in the Kyôto hyôbanki, wakaonnagata section, was goku-jô-jô-kichi (extreme - superior - superior - excellent) [Visual]. 7th lunar month of 1723: first Kabuki adaptation in Kyôto of the puppet theater drama "Ôtô-no-Miya Asahi no Yoroi"; Yaegiri played the roles of Murakami Hikoshirô and Nagai's wife Hanazono [more details]. 11th lunar month of 1723: Yaegiri produced in Kyôto the kaomise drama "Tatsu Goyomi Daishô Wagô no Tsurugi"; he played the role of the courtesan Kokonoe. Spring 1727: tour in Ise. 11th lunar month of 1727: Yaegiri performed in Ôsaka in the kaomise drama "Watamashi Yatsumune Gura", which was produced by Sawamura Otoemon I. 1st lunar month of 1728: Yaegiri's rank in the Ôsaka hyôbanki, wakaonnagata section, was goku-jô-jô-kichi (extreme - superior - superior - excellent) [Visual]. 1728: tour in Ise, in the province of Owari and in the city of Nara. 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 Kyôto the role of Kasane in Sawamura Bunji's kaomise drama "Inari Yakata Manpô no Kura", which was produced by Arashi Koroku I at Hayagumo Chôdayû's theater. 1732: tour in Ise and in the province of Owari; Yaegiri performed in Nagoya at the Tachibana no Shibai. 2nd lunar month of 1733: Yaegiri went back to Kyôto and produced the drama "Shimoyo no Hotaru". 12th lunar month of 1735: Yaegiri played 2 roles in the drama "Onna Tokimasa Gunpô Hinagata", which was produced in Kyôto by Yamamoto Kyôzô. This was the last-recorded performance of Yaegiri in a major theater. 1736: tour in Nagoya. Yaegiri most likely died the same year. Comments: 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 rôles were those of heroines who have died with their lovers-double suicide, or shinjû, a popular theme of the Doll theatre plays.
Just as Sawamura Chôjûrô 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 Ôkagami" (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 wakashû their ages
(in it an unnamed wakashû 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 wakashû 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." |
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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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