Bando Mitsugoro III
Encyclopedia
was a Kabuki
actor, one of the best tachiyaku
(strong male role specialists) of the early 19th century. He is famous for a great many roles, and for his rivalry with the Kamigata
(Kyoto-Osaka) actor Nakamuta Utaemon III.
). Finally, Mitsugorō was known in poetry circles as Shūka, and as he developed something of a reputation on the streets of Edo, he acquired the nickname "Eiki no Oyagata" (boss of the Eiki district).
, and raised them in the theatre.
, under the name Bandō Mitahachi I. The young actor took a number of different stage names over the course of his childhood, becoming the third Bandō Mitsugorō at the Nakamura-za in 1799. His father died in 1782.
As the 19th century began, Mitsugorō performed in a great number of plays and a myriad of roles, both male and female, at the Morita-za, Nakamura-za, and Ichimura-za
theatres. He came to be known for his dancing, and in particular for hengemono, dance plays in which he would quick-change through a number of roles. Though he played mostly women in these dance plays, he also frequently played sumo
wrestlers, and lead hero roles in some of the most popular and famous kabuki plays.
In May 1815, he performed at the Kawarazaki-za
alongside Iwai Hanshirō V
, Matsumoto Kōshirō V and Ichikawa Danjūrō VII, some of the most famous actors of the time. Over the years, he developed a rivalry with kamigata actor Nakamura Utaemon III, also known as Shikan. These types of rivalries were not uncommon in the kabuki world, particularly between actors from Edo and Kamigata, but were likely friendly rivalries, promoted more by the fans and by the theatre managers, rather than by genuine ill-feelings on the parts of the actors towards one another. The two would perform together many times, both in Edo and in Kamigata, their rivalry extending over many years.
Following a hengemono farewell performance, Mitsugorō left Edo and moved to Osaka
in December 1820. There, he performed primarily at the Kado no Shibai, and frequently alongside Utaemon III. He also spent time performing in Nagoya, and in Kyoto
at the Kitagawa no Shibai, two cities where kabuki was far less prolific than in Edo and Osaka.
Mitsugorō was ranked as goku-jō-jō-kichi (extreme-superior-superior-excellent) in the 1822 hyōbanki
(a popular publication ranking and evaluating actors and performances). In February of that year, his rivalry with Utaemon III reached its climax. Both actors simultaneously played the popular and powerful role of the thief Ishikawa Goemon
at different theaters.
He returned to Edo soon afterwards, marking the end of his 13-month stay in Kamigata. Over the following years, he would perform many more times, primarily at the Ichimura-za. In addition to sumo wrestler roles and hengemono quick-change dances, he played a number of different roles in Sugawara Denju Tenarai Kagami
, Yoshitsune Senbon Zakura
, Tōkaidō Yotsuya Kaidan
, and other very popular and famous plays.
His last performance was in November 1831, in Matsu o Chikara Tomoe no Fuji Nami at the Kawarazaki-za. The following month he fell ill and died.
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, one of the best 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...
(strong male role specialists) of the early 19th century. He is famous for a great many roles, and for his rivalry with the 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-Osaka) actor Nakamuta Utaemon III.
Names
Like most Kabuki actors, and many artists of his time, Mitsugorō bore a number of names. The third to bear the name Bandō Mitsugorō, he was also called Bandō Minosuke I, Morita Kanjirō II and Bandō Mitahachi I earlier in his career. A member of the Yamato-ya guild, he could be called by this name as well (see yagōYAGO
YAGO was an early LAN startup acquired by Cabletron Systems in the mid-1990s, fueling its growth into Gigabit Ethernet switching and ultimately being re-spun off into the entity Riverstone Networks....
). Finally, Mitsugorō was known in poetry circles as Shūka, and as he developed something of a reputation on the streets of Edo, he acquired the nickname "Eiki no Oyagata" (boss of the Eiki district).
Lineage
Born into a family of actors, his parents were Bandō Mitsugorō I and Morita Kanya VI's daughter; Morita Kanya V and Nakamura Jūsuke I were his grandfathers. Mitsugorō was adopted by Morita Kanya VIII, and was the son-in-law of Ogino Izaburō II. Later in his career, he adopted three sons, Morita Kanya X, Morita Kanya XI and Bandō Shūka IBando Shuka I
, also known as , was a Japanese Kabuki actor, and the first in the lineage to hold each of the stage-names Shūka and Tamasaburō.-Names:...
, and raised them in the theatre.
Life and career
Born in Edo in 1775, he made his stage debut at the age of three, at 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...
, under the name Bandō Mitahachi I. The young actor took a number of different stage names over the course of his childhood, becoming the third Bandō Mitsugorō at the Nakamura-za in 1799. His father died in 1782.
As the 19th century began, Mitsugorō performed in a great number of plays and a myriad of roles, both male and female, at the Morita-za, Nakamura-za, and Ichimura-za
Ichimura-za
The ' was a major kabuki theatre in the Japanese capital of Edo , for much of the Edo period, and into the 20th century. It was first opened in 1634 and was run by members of the Ichimura family for much of the following nearly three centuries before being destroyed by fire in 1932 and not...
theatres. He came to be known for his dancing, and in particular for hengemono, dance plays in which he would quick-change through a number of roles. Though he played mostly women in these dance plays, he also frequently played sumo
Sumo
is a competitive full-contact sport where a wrestler attempts to force another wrestler out of a circular ring or to touch the ground with anything other than the soles of the feet. The sport originated in Japan, the only country where it is practiced professionally...
wrestlers, and lead hero roles in some of the most popular and famous kabuki plays.
In May 1815, he performed at the Kawarazaki-za
Kawarazaki-za
The ' was one of the major kabuki theatres in Edo during the Edo period and into the Meiji period. Not being one of the four theatres formally licensed by the Tokugawa shogunate, the theatre was largely inactive for long stretches of time, operating only when the Morita-za, facing financial...
alongside Iwai Hanshirō V
Iwai Hanshiro V
was a Japanese kabuki performer, known both for his own work and for his place in the lineage of a family of kabuki actors in Edo during the Edo period. He was the son of Iwai Hanshiro IV...
, Matsumoto Kōshirō V and Ichikawa Danjūrō VII, some of the most famous actors of the time. Over the years, he developed a rivalry with kamigata actor Nakamura Utaemon III, also known as Shikan. These types of rivalries were not uncommon in the kabuki world, particularly between actors from Edo and Kamigata, but were likely friendly rivalries, promoted more by the fans and by the theatre managers, rather than by genuine ill-feelings on the parts of the actors towards one another. The two would perform together many times, both in Edo and in Kamigata, their rivalry extending over many years.
Following a hengemono farewell performance, Mitsugorō left Edo and moved to Osaka
Osaka
is a city in the Kansai region of Japan's main island of Honshu, a designated city under the Local Autonomy Law, the capital city of Osaka Prefecture and also the biggest part of Keihanshin area, which is represented by three major cities of Japan, Kyoto, Osaka and Kobe...
in December 1820. There, he performed primarily at the Kado no Shibai, and frequently alongside Utaemon III. He also spent time performing in Nagoya, and in Kyoto
Kyoto
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:...
at the Kitagawa no Shibai, two cities where kabuki was far less prolific than in Edo and Osaka.
Mitsugorō was ranked as goku-jō-jō-kichi (extreme-superior-superior-excellent) in the 1822 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 popular publication ranking and evaluating actors and performances). In February of that year, his rivalry with Utaemon III reached its climax. Both actors simultaneously played the popular and powerful role of the thief Ishikawa Goemon
Ishikawa Goemon
was a semi-legendary Japanese outlaw hero who stole gold and valuables and gave them to the poor. Goemon is notable for being boiled alive along with his son in public after a failed assassination attempt on the civil war-era warlord Toyotomi Hideyoshi. A large iron kettle-shaped bathtub is now...
at different theaters.
He returned to Edo soon afterwards, marking the end of his 13-month stay in Kamigata. Over the following years, he would perform many more times, primarily at the Ichimura-za. In addition to sumo wrestler roles and hengemono quick-change dances, he played a number of different roles in 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...
, Yoshitsune Senbon Zakura
Yoshitsune Senbon Zakura
Yoshitsune Senbon Zakura , or Yoshitsune and the Thousand Cherry Trees, is a Japanese play, one of the three most popular and famous in the Kabuki repertoire...
, Tōkaidō Yotsuya Kaidan
Yotsuya Kaidan
Yotsuya Kaidan , the story of Oiwa and Tamiya Iemon, is a tale of betrayal, murder and ghostly revenge. Arguably the most famous Japanese ghost story of all time, it has been adapted for film over 30 times, and continues to be an influence on Japanese horror today.Written in 1825 by Tsuruya Nanboku...
, and other very popular and famous plays.
His last performance was in November 1831, in Matsu o Chikara Tomoe no Fuji Nami at the Kawarazaki-za. The following month he fell ill and died.