to be banned in its turn. From the End of WWII to the PresentKansai Kabuki declined rapidly after WWII. As is mentioned above, Kabuki is the general term for various genres of stages, such as the program created as the drama from the start, the program whose story comes from Ningyo Joruri, and in addition, the program of dancing. Nizaemon, who had taken part in a spectacular show announcing the succession to Danjuro ICHIKAWA XI in Tokyo Kabuki-za in January 1962, also experienced the small audience for the performance at Minami-za in April and was shocked at the depressing conditions of Kansai Kabuki. In supporting players as well there were many versatile actors such as Ichizo ICHIKAWA IV (yondaime), Hakotora ICHIKAWA I (shodai), Kichisaburo ARASHI VII (nanadaime), Enjo ICHIKAWA I (shodai), Okuzan ASAO IV and Kasen NAKAMURA II.
The group performed three times until 1961. performed slightly suggestive dances and skits. The remaining successors to Kansai Kabuki at this time were Ganjiro NAKAMURA II (nidaime), Gato KATAOKA IV (later, Nizaemon KATAOKA XIII (jusandaime)), Jukai ICHIKAWA III (sandaime), Jusaburo BANDO III (sandaime), Tomijuro NAKAMURA IV (yondaime), Minosuke BANDO VI (rokudaime) (later, Mitsugoro BANDO VIII (hachidaime)), Mataichiro HAYASHI II, Roen KATAOKA V (later, Gado KATAOKA XII; after his death, posthumously conferred Nizaemon XIV), Fukusuke NAKAMURA V (Takasagoya), Enjiro JITSUKAWA II (later, Enjaku JITSUKAWA III (sandaime)) and Naritaro NAKAMURA II. Furthermore there were many supporting actors, starting from Kasen NAKAMURA who was acting before World War II, and including Shojaku NAKAMURA, Kichisaburo ARASHI VII (nanadaime), Sanemon ARASHI XI (or X) (juichidaime), Hinasuke ARASHI X (judaime), Ainosuke KATAOKA V (godaime) and Kikujiro ONOE IV (yondaime). Each of these fields has its own favorite music. Theater, too. the Great Kanto Earthquake of 1923, they sat in Capable rivals such as Nizaemon KATAOKA XI and Enjaku JITSUKAWA II were treated coldly and forced to shift their field of activity to Tokyo. This/these art print(s) with a reference to kabuki is/are available in the current auction. In the Meiji period (1868-1912) it was suggested that women could now act "Geza" (sound effects in Kabuki) basically produces the atmosphere of the original Kabuki Kyogen. to the next set which appears around from the back of the previous decor. Although kabuki was performed at the Shin Kabuki-za Theater to celebrate its grand opening in 1958, the theater came to be used for performances by actresses and entertainers and kabuki was performed only once a year or not at all in certain years.
would have looked before modernization and rebuilding. This was an independent performance with a lineup of the seven kabuki actors Nizaemon, Ganjiro, Gado KATAOKA (jusandaime)(posthumously, conferred Nizaemon KATAOKA XIV), Mataichiro, Enjaku, Senjaku and Fukusuke NAKAMURA (Takasagoya V) and produced by Koichi YAMAGUCHI. The first aragoto actor was This historical
Politicians became involved in this campaign, because the campaign coincided with the Meiji Government's purpose of establishing a theater suitable for the upper & middle classes of a civilized country to watch. And moreover, the third "Ennosuke ICHIKAWA" energetically performed revived Kyogen, into which he fully reintroduced the factors of Keren that were once despised; Ennosuke sought to improve Kabuki as the theater, so he tried a much more boldly staged Kabuki, called Super Kabuki. As a result of his efforts to hold his own press interview to explain his wish and energetically meet with various persons asking for support, the performance held in Bunraku-za Theater was a great success.
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