Kabuki Plus
Kamakura’s sexiest man
notable!Kajiwara Genda is depicted as the sexiest man in Kamakura. He appears in gorgeous costume, consisting of a pink kimono with a hat decorated in red and white plum blossoms, a purple coat, and beautifully embroidered long trousers. This costume is based on a legend that the historic Genda carried a plum branch in his quiver when he went to battle. The stylish character is later shown after his disinheritance in a ragged black kimono with a plain rope for the belt, specified by the playwright to highlight the dramatic contrast in the character’s fate.
“Genda’s Disinheritance” as home drama
The noted critic Miyake Shutaro says that the scene where Genda is disowned is a like a home drama in a modern upper-class household: a love affair between the handsome older brother and a servant, the jealous younger brother who tries to steal her away, and the mother who assumes the younger son is trying to save his brother from a disastrous marriage with a lower-class woman. While the story ultimately turns tragic, it is written overall with a light touch.
Famed dialogue over Genda’s battle actions
The dialogue exchange between Genda and Heiji concerning the former’s actions at the Battle at Uji River is one of the play’s highlights. The dialogue incorporates lines directly from the 13th-century classic Genpei Seisuiki as Heiji attempts to disgrace Genda for what he sees as shameful behavior in the battle. Their mother occasionally chips in as well. The traditional narrative of historic events, an indispensable scene in a period play, is carried out uniquely as a multi-actor dialogue.
Genda’s hand does the killing
As soon as Genda is expelled from the family, he is attacked on his brother’s orders by Gunnai. Genda, fending off the attack, tells Gunnai that he cannot kill him since the murder was ordered by his family. He grabs Gunnai’s sword and tells him that it that the sword will take Gunnai’s head, adding morbidly that it is not Genda but Genda’s hand that is doing the job.
Genpei Seisuiki
Genpei Seisuiki, the source material for the play, is a war story written between the Kamakura Era (13th century) and Muromachi Era (15th-16th century). As with The Tale of Heike, it covers the Heike’s 20-year battle with the Genji clan in 1162-1182 and its ultimate demise. The authors are unknown, and it is not certain which tale was written first. Genpei is longer at over a hundred chapters, including related episodes. The Tale of Heike was popularized as a narrative sung by blind monks, while Genpei was circulated in written form.
Higuchi’s two narratives
Higuchi’s first tale is the narration of events at the Kajiwara mansion, delivered as a domestic story of ongoing events by the boatman Matsuemon. He starts by describing the state of the mansion and uses different voices to represent Kajiwara, a servant and himself. Second is his narration of the battle after his identity as Higuchi is revealed. This is a dynamic warrior’s speech. He expresses sympathy for Ofude, moves on to his own fight in the battle, and finally expresses his feelings and gratitude to his father Gonshiro. This allows the actor to show his skill in three narrative styles. The highlight is when he reverts from warrior style to daily speech when humbly thanking his father Gonshiro. This stage action was created by Danjuro VII in the early 19th century.
“Gonshiro, you’re being rude!”
Higuchi’s revelation of his identity is a highlight for the actor. He steps down from an elevated part of the stage and opens the outside door, looks out, and shouts, “Gonshiro, you’re being rude!” He closes the door and continues his speech. He walks around Gonshiro and Oyoshi and proclaims, “I am indeed Higuchi Kanemitsu.” He returns to the elevated section, drops one leg on the stair, grabs his collar and looks down on them in a famous mie pose. This pattern was created by Nakamura Utaemon III in response to pointed comments by Asao Kuzaemon, who was playing Gonshiro.
Gonshiro’s nature
notable!While the play’s main character is Higuchi, it is Gonshiro that is the fuller written role. He is a stubborn old man, typical of a boatman, and loves his grandson deeply. His anger when he learns of his grandson’s murder, his shock that his son-in-law is actually Higuchi, his emotional state in accepting his grandson’s death, and his compassion in begging Shigetada to save the prince’s life for Higuchi’s sake – this wild change of emotions produces a complete and believable picture of Higuchi as a real person. In the puppet version, the finale comes with a fisherman’s folk song, enhancing the story’s emotion.
Fighting and monomi
Three boatmen appear and start practicing the reverse rowing technique. They sing their lines in lyrical fashion to the sound of the shamisen. Higuchi appears with his hair split in the middle and blood on his forehead, and fights with the boatmen, who line up in the shape of a boat. Higuchi chases them outside and does an exaggerated roppo stomp. He climbs a tree, raises a branch and goes into a famous speech. This is known as monomi, a technique used in period pieces.
Hatakeyama Shigetada
Hatakeyama Shigetada always appears in Kabuki as a warrior with sense and sensitivity. This historic Shigetada gained fame in the battle that exterminated the Heike clan, and has been depicted in many books as a brave, determined and honest warrior. In Kabuki, he is a sabakiyaku role, a character of judgment using patience and intelligence to resolve problems.
Sakaro battle
Sakaro is a rowing technique allowing the boatmen to move the ship backward or forward. Both The Tale of Heike and Genpei Seisuiki tell of Kagetoki insisting on practicing sakaro prior to the sea battle with the Heike clan, leading to a clash with Yoshitsune. This episode is incorporated into Higuchi’s story.
Legend of Muken Bell and popular song
notable!Legend has it that someone who strikes the Muken Bell, located in Nakayama Temple in Shizuoka, will gain a fortune in this life but fall after death into the horrors of Muken Hell. Many people died in a rush to strike the bell, which was finally thrown into a well. That well still exists today. Muken Hell is the most brutal area of the Buddhist underworld, known as the hell of relentless (muken) suffering.
The scene where Umegae strikes the water basin and receives 300 ryo led to a popular song: “If I strike Umegae’s basin and money falls out, please use the money to free me from this prostitute’s life.” A music and dance encyclopedia by theater critic Atsumi Seitaro says that this song became popular in 1878. It is influenced by a song in the noted rakugo piece Rakuda.
