Morita Kanya XIV
Encyclopedia
was a Japanese kabuki
actor. He was a tachiyaku
actor (performer of male roles), specializing in playing the roles of young, handsome lovers in the wagoto
style, a type of role known as nimaime. Kan'ya is also known for his early postwar film career, and as the adoptive father of Bandō Tamasaburō V
, the most famous and popular onnagata (specialist in female roles) of today.
kabuki theatre in Edo
(later Tokyo) until 1894.
Kan'ya was adopted by Morita Kan'ya XIII, and in turn was the adoptive father of Bandō Tamasaburō V.
in Tokyo, under the stagename Bandō Tamasaburō IV. He would later take the name Bandō Shūka III and, following the death of his adoptive father in 1932, became Morita Kan'ya XIV in 1935. He was, like most kabuki actors, quite prolific, and for a number of years in the 1930s was a member of a group of young actors called "Seinen Kabuki" (Young men Kabuki) who performed regularly at the Shin Kabuki-za in Tokyo, then called the Shinjuku Daiichi Gekijō (First Shinjuku Theatre).
In the early postwar years, Kan'ya acted in a number of films, including Surōnin Makaritōru (1947), Otomi to Yosaburō (1950), and Edo no Hanamichi (1953).
Remaining quite active on the kabuki stage as well, Kan'ya performed in many revivals at the National Theatre
, taking part as well in the Theatre's 1966 opening ceremonies and the associated performance of Sugawara Denju Tenarai Kagami
. He also often performed alongside his adopted son Bandō Tamasaburō V.
Kan'ya made his last Tokyo stage appearance in December 1974, in a production of Kanadehon Chūshingura
at the National Theatre, and his final stage appearance the following month, at Nagoya's Chūnichi Theatre. He died on 28 March 1975.
Kabuki
is classical Japanese dance-drama. Kabuki theatre is known for the stylization of its drama and for the elaborate make-up worn by some of its performers.The individual kanji characters, from left to right, mean sing , dance , and skill...
actor. He was a tachiyaku
Tachiyaku
' is a term used in the Japanese theatrical form kabuki to refer to young adult male roles, and to the actors who play those roles. Though not all tachiyaku roles are heroes, the term does not encompass roles such as villains or comic figures, which form their own separate categories...
actor (performer of male roles), specializing in playing the roles of young, handsome lovers in the wagoto
Wagoto
, or soft style, is a style of kabuki acting that emphasizes realistic speech and gestures. Wagoto actors typically do not employ the exaggerated makeup and costuming common to the more exaggerated aragoto style....
style, a type of role known as nimaime. Kan'ya is also known for his early postwar film career, and as the adoptive father of Bandō Tamasaburō V
Bando Tamasaburo V
is a Kabuki actor, and the most popular and celebrated onnagata currently on stage. He has also acted in a handful of films....
, the most famous and popular onnagata (specialist in female roles) of today.
Lineage
Kan'ya was the fourteenth in the line of actors and theatre managers to hold the name Morita Kan'ya. Previous bearers of the name were managers (zamoto) of the Morita-zaMorita-za
The Morita-za , also known later as the Shintomi-za , was one of the major Kabuki theaters in Edo during the Edo period and into the beginning of the 20th century...
kabuki theatre in Edo
Edo
, also romanized as Yedo or Yeddo, is the former name of the Japanese capital Tokyo, and was the seat of power for the Tokugawa shogunate which ruled Japan from 1603 to 1868...
(later Tokyo) until 1894.
Kan'ya was adopted by Morita Kan'ya XIII, and in turn was the adoptive father of Bandō Tamasaburō V.
Life and career
Kan'ya made his first appearance onstage at the age of seven, at the Kabuki-zaKabuki-za
' in Ginza was the principal theater in Tokyo for the traditional kabuki drama form.-Architecture:The original Kabuki-za was a wooden structure, built in 1889 on land which had been either the Tokyo residence of the Hosokawa clan of Kumamoto, or that of Matsudaira clan of Izu.The building was...
in Tokyo, under the stagename Bandō Tamasaburō IV. He would later take the name Bandō Shūka III and, following the death of his adoptive father in 1932, became Morita Kan'ya XIV in 1935. He was, like most kabuki actors, quite prolific, and for a number of years in the 1930s was a member of a group of young actors called "Seinen Kabuki" (Young men Kabuki) who performed regularly at the Shin Kabuki-za in Tokyo, then called the Shinjuku Daiichi Gekijō (First Shinjuku Theatre).
In the early postwar years, Kan'ya acted in a number of films, including Surōnin Makaritōru (1947), Otomi to Yosaburō (1950), and Edo no Hanamichi (1953).
Remaining quite active on the kabuki stage as well, Kan'ya performed in many revivals at the National Theatre
National Theatre of Japan
The is a complex consisting of three halls in two buildings in Hayabusa-chō, a neighborhood in Chiyoda, Tokyo, Japan. The Japan Arts Council, an Independent Administrative Institution of the Ministry of Education, Culture, Sports, Science and Technology, operates the National Theatre...
, taking part as well in the Theatre's 1966 opening ceremonies and the associated performance of Sugawara Denju Tenarai Kagami
Sugawara Denju Tenarai Kagami
is a Japanese bunraku and kabuki play jointly written by Takeda Izumo I, Takeda Izumo II, Namiki Sōsuke and Miyoshi Shōraku. Along with Yoshitsune Senbon Zakura and Kanadehon Chūshingura, it is one of the three most famous and popular plays in the kabuki repertoire...
. He also often performed alongside his adopted son Bandō Tamasaburō V.
Kan'ya made his last Tokyo stage appearance in December 1974, in a production of Kanadehon Chūshingura
Kanadehon Chūshingura
Chūshingura is an 11-act bunraku puppet play composed in 1748. It is one of the most popular Japanese plays, ranked with Zeami's Matsukaze, although the vivid action of Chūshingura differs dramatically from Matsukaze...
at the National Theatre, and his final stage appearance the following month, at Nagoya's Chūnichi Theatre. He died on 28 March 1975.