Yoshizawa Ayame I
Encyclopedia
Yoshizawa Ayame I(1673-15 July 1729) was an early Kabuki
actor, and the most celebrated onnagata (specialist in female roles) of his time. His thoughts on acting, and on onnagata acting in particular, are recorded in Ayamegusa (菖蒲草, "The Words of Ayame"), one section of the famous treatise on Kabuki acting, Yakusha Rongo (役者論語, "The Actors' Analects
").
A.C. Scott wrote that "Yoshizawa Ayame I was regarded as the greatest onnagata or female impersonator of his time and was an artist of ability, who developed the unique technique which was to be a model for the actors of the future. His ideas and secrets were written down in a book called 'Ayamegusa', which was afterwards regarded as the Bible of the female impersonator."
Ayame is famous for advocating that onnagata behave as women in all their interactions, both onstage and off. In Ayamegusa, he is quoted as saying that "if[an actor] does not live his normal life as if he was a woman, it will not be possible for him to be called a skillful onnagata." Following his own advice, Ayame cultivated his femininity throughout his offstage life, and was often treated as a woman by his fellow actors. His mentor, Arashi San'emon, and others are said to have praised him on many occasions for his devotion to his art.
, and Yoshizawa Gonshichi when performing as a tachiyaku
(in male roles). He also used the name "Gonshichi" as a nickname (替名, kaena) used when patronizing a brothel or restaurant. His haimyō (俳名, poetry name) was Shunsui, and his guild name (家名, kamei) Tachibanaya, after his mentor Tachibana Gorozaemon.
Ayame also had a number of disciples, including Yoshizawa Sengiku, Yoshizawa Takegorō, and Yoshizawa Tamazuma.
, where he was a male prostitute before becoming involved in the more legitimate theater world. Tachibana Gorozaemon, a samurai from Tamba province
, became his patron, arranging for him an apprenticeship first under shamisen
player Mizushima Shirobei in the troupe of actor Arashi San'emon I, and later under San'emon himself.
Trained in the shamisen and in the ways of Kabuki, Ayame, known as Ayanosuke in his childhood, sought to learn Noh
chanting and acting as well, seeking lessons from Tachibana, but was refused. His patron insisted that he focus on learning to be an onnagata, and that he not allow the study of Noh or other disciplines to corrupt his chanting, dancing, and acting style. In his early years on stage, Yoshizawa was often compared to, and outshined by, Yoshida Ayame, another onnagata actor; however, it is said that once Yoshida began taking Noh lessons, his kabuki suffered, and soon lost popularity to Yoshizawa. Yoshizawa then took on the guild name "Tachibanaya", and Tachibana's nickname "Gonshichi" as well, in honor of his patron, and in thanks for his guidance.
Ayame traveled to Edo for the first time in 1690, and performed at the Morita-za
and Nakamura-za for three years. He would return to Edo again, briefly, in November 1695, performing at the Yamamura-za under the stage name Yoshizawa Kikunojō. When in Kamigata
(Kyoto and Osaka), however, he always went by Ayame. Upon his return from Edo the first time, in 1693, he performed for the first time alongside tachiyaku Sakata Tōjūrō I
, in the premiere of Butsumo Mayasan Kaichō by famous playwright Chikamatsu Monzaemon
. Ayame and Tōjūrō would perform as partners countless times over the course of their careers.
Performing primarily in Kyoto, with some brief stints in Osaka, Ayame acted in countless plays, and became very well regarded in the Kamigata theatre world. In 1711, he was ranked in the Kyoto hyōbanki
(a regular publication ranking actors and performances) as goku-jō-jō-kichi (極上上吉extreme-superior-superior-excellent). He achieved the same ranking in Edo three years later, a rare feat considering that most actors did not see success in both Kamigata and Edo, and many did not travel between the two regions at all.
After many more successes onstage, Ayame decided, in 1721, to become a tachiyaku. He performed in male roles for two years, but was not popular in these roles, and became an onnagata once more in 1723. Later that year, he left Kyoto for the final time, settling in Osaka, and appearing onstage for the last time in 1728.
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, and the most celebrated onnagata (specialist in female roles) of his time. His thoughts on acting, and on onnagata acting in particular, are recorded in Ayamegusa (菖蒲草, "The Words of Ayame"), one section of the famous treatise on Kabuki acting, Yakusha Rongo (役者論語, "The Actors' Analects
Actors' Analects
The Actors' Analects is a collection of 17th and early 18th century writings on the practice and aesthetics of acting in Japan's kabuki theatre form, compiled during or around the Genroku era...
").
A.C. Scott wrote that "Yoshizawa Ayame I was regarded as the greatest onnagata or female impersonator of his time and was an artist of ability, who developed the unique technique which was to be a model for the actors of the future. His ideas and secrets were written down in a book called 'Ayamegusa', which was afterwards regarded as the Bible of the female impersonator."
Ayame is famous for advocating that onnagata behave as women in all their interactions, both onstage and off. In Ayamegusa, he is quoted as saying that "if
Names
Though most commonly known as Ayame, Yoshizawa took on the stage names of Yoshizawa Kikunojō during a brief stint performing in EdoEdo
, 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...
, and Yoshizawa Gonshichi when performing as 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...
(in male roles). He also used the name "Gonshichi" as a nickname (替名, kaena) used when patronizing a brothel or restaurant. His haimyō (俳名, poetry name) was Shunsui, and his guild name (家名, kamei) Tachibanaya, after his mentor Tachibana Gorozaemon.
Lineage
Ayame had four sons who followed their father in acting. They were Yoshizawa Ayame II, Yoshizawa Ayame III, Yamashita Matatarō I, and Nakamura Tomijurō I. Yoshizawa Ayame V and Yoshizawa Matatarō II were his grandsons, and Yoshizawa Iroha II his great-grandson.Ayame also had a number of disciples, including Yoshizawa Sengiku, Yoshizawa Takegorō, and Yoshizawa Tamazuma.
Life and career
Ayame was born in KyotoKyoto
is a city in the central part of the island of Honshū, Japan. It has a population close to 1.5 million. Formerly the imperial capital of Japan, it is now the capital of Kyoto Prefecture, as well as a major part of the Osaka-Kobe-Kyoto metropolitan area.-History:...
, where he was a male prostitute before becoming involved in the more legitimate theater world. Tachibana Gorozaemon, a samurai from Tamba province
Tamba Province
was an old province of Japan. The ambit of its borders encompassed both the central part of modern Kyoto Prefecture and the east-central part of Hyōgo Prefecture. It was sometimes called , with Tango Province...
, became his patron, arranging for him an apprenticeship first under shamisen
Shamisen
The , also called is a three-stringed, Japanese musical instrument played with a plectrum called a bachi. The Japanese pronunciation is usually "shamisen" but sometimes "jamisen" when used as a suffix . -Construction:The shamisen is a plucked stringed instrument...
player Mizushima Shirobei in the troupe of actor Arashi San'emon I, and later under San'emon himself.
Trained in the shamisen and in the ways of Kabuki, Ayame, known as Ayanosuke in his childhood, sought to learn Noh
Noh
, or - derived from the Sino-Japanese word for "skill" or "talent" - is a major form of classical Japanese musical drama that has been performed since the 14th century. Many characters are masked, with men playing male and female roles. Traditionally, a Noh "performance day" lasts all day and...
chanting and acting as well, seeking lessons from Tachibana, but was refused. His patron insisted that he focus on learning to be an onnagata, and that he not allow the study of Noh or other disciplines to corrupt his chanting, dancing, and acting style. In his early years on stage, Yoshizawa was often compared to, and outshined by, Yoshida Ayame, another onnagata actor; however, it is said that once Yoshida began taking Noh lessons, his kabuki suffered, and soon lost popularity to Yoshizawa. Yoshizawa then took on the guild name "Tachibanaya", and Tachibana's nickname "Gonshichi" as well, in honor of his patron, and in thanks for his guidance.
Ayame traveled to Edo for the first time in 1690, and performed at the Morita-za
Morita-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...
and Nakamura-za for three years. He would return to Edo again, briefly, in November 1695, performing at the Yamamura-za under the stage name Yoshizawa Kikunojō. When in Kamigata
Kamigata
Kamigata is a region of Japan referring to the cities of Kyoto and Osaka; the term is used particularly when discussing elements of Edo period urban culture such as ukiyo-e and kabuki, and when making a comparison to the urban culture of the Edo/Tokyo region.Kabuki, ukiyo-e, and many of the other...
(Kyoto and Osaka), however, he always went by Ayame. Upon his return from Edo the first time, in 1693, he performed for the first time alongside tachiyaku Sakata Tōjūrō I
Sakata Tojuro I
' was an early kabuki actor of the Genroku period in Japan. He was a pioneer of the wagoto style, and of Kamigata kabuki more generally. His influence persists in the lineage of actors who have taken up his artistic mantle....
, in the premiere of Butsumo Mayasan Kaichō by famous playwright Chikamatsu Monzaemon
Chikamatsu Monzaemon
Chikamatsu Monzaemon was a Japanese dramatist of jōruri, the form of puppet theater that later came to be known as bunraku, and the live-actor drama, kabuki...
. Ayame and Tōjūrō would perform as partners countless times over the course of their careers.
Performing primarily in Kyoto, with some brief stints in Osaka, Ayame acted in countless plays, and became very well regarded in the Kamigata theatre world. In 1711, he was ranked in the Kyoto hyōbanki
Hyobanki
Hyōbanki were compilations of rankings and critiques of kabuki actors and courtesans published in Edo period Japan. They were generally published at the new year in Edo and Kamigata, reviewing and ranking the courtesans and actors of the previous year...
(a regular publication ranking actors and performances) as goku-jō-jō-kichi (極上上吉extreme-superior-superior-excellent). He achieved the same ranking in Edo three years later, a rare feat considering that most actors did not see success in both Kamigata and Edo, and many did not travel between the two regions at all.
After many more successes onstage, Ayame decided, in 1721, to become a tachiyaku. He performed in male roles for two years, but was not popular in these roles, and became an onnagata once more in 1723. Later that year, he left Kyoto for the final time, settling in Osaka, and appearing onstage for the last time in 1728.
See also
- Yoshizawa AyameYoshizawa AyameYoshizawa Ayame is a stage name taken on by a series of Kabuki actors in Japan. Founded by one of the most famous onnagata of all time, three of the four actors to succeed him were his direct relatives.-Lineage:...
- the line of actors bearing the name.