Dear Yuko Nishikawa Sama,
It’s already six months into the fourth year of Reiwa. This time of the year brings back memories of En no Kai (an independent Nihon Buyo event held every June at National Theater, Small Theater) organized by our teacher, Shigeka Hanayagi Sensei.
After our teacher has passed away, I am not so sure how much I am able to embody the words, taste and world view of Shigeka Sensei. However, I am heartened to feel as though I am channeling Shigeka Sensei, through interactions with you.
Recently, I had an opportunity to view a video performance of “Kagami Jishi” by Nakamura Kanzaburo XVII directly taught by Onoe Kikugoro VI, at home of a fellow participant of En no Kai.
Set in the Ooku (ladies’ chambers) of Edo Castle “Kagami Jishi” is a major role, that requires an actor to dance both the part of Yayoi, a fresh-faced lady-in-waiting, and the part of a fierce spirit of lion. In the archive video, Mr. Tamotsu Watanabe, a theater critic, commented that “Kanzaburo XVII, who shifted from being an onnagata (a male actor performing female roles) to a tachiyaku, (a male actor performing male roles) has resurrected “Kagami Jishi” to a dance of tachiyaku.” He observed that (Kanzaburo XVII), inheriting the role of “Kagami Jishi”, directly from Kikuguro VI, a tachiyaku actor, has established a linkage to the performance of Ichikawa Danjuro IX, who first played the role.
As I watched the video, it revived my childhood memory of watching an NHK documentary recording Kanzaburo XVII coaching his son Kankuro (Kanzaburo XVIII) to dance “Kagami Jishi”. Tension abounded in the practice studio, as the father and the son both sweated out, sometimes as rivals. Kanzaburo XVII repeatedly criticized his son’s performance, with comments like “Don’t give a look like that.” The imagery has left a deep impression in my mind.
A truly brilliant work of art not only leaves an impact, like drinking water drawn from a deep spring, but also recalls unforgettable memories.
Speaking of brilliant works of art, Mr. Gyoji Nomiyama, a painter who celebrated his 101st birthday, noted that after living a century, he feels that humans have disengaged from nature, and that more recently, humans have disengaged from humans.
Regardless of traditional or modern, I believe that human interactions are at the basis of all artistic creations; how do we defend dynamism of individuals towards the future… it leaves me much to think about.
Mitsuru Tamatsuka (Tama Pro)
June, Reiwa 4.
Photo caption: “Sekka”, a stage performance that Mitsuru Tamatsuka created and danced under the tutelage of Shigeka Hanayagi Sensei.
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