Kabuki Plus
Skillful warrior and great sword
Oba extols Kajiwara as a great appraiser of swords. The play’s first highlight is when Kajiwara encounters and evaluates the great sword. Before touching the sword, he purifies his hands and mouth with water, and places paper in his mouth to avoid breathing on the sword as he looks at it. He carefully pulls out the sword and scrutinizes it closely. He must convey to the audience that he has seen thousands of swords in the past and must thus show reverence to the weapon. The narrator compares the flawless blade of the sword to a flowing waterfall lit by the moon in the clear night sky. When Kajiwara unsheathes the sword, his jaw opens, releasing the paper, and he spontaneously proclaims, “Magnificent.”
Cutting two bodies and one stone basin
The show’s second great moment is the climactic scene when the sword is used to cut through two people lying atop each other in a single blow. A skillful warrior with a proper sword should have no problem slicing two people at once, but Kajiwara manages to cut the criminal on top and stop just short of Rokurodayu underneath, cutting only the ropes that bind him – a much more difficult task. The third highlight is, of course, the cutting of the stone water basin as in the title. To present this action realistically requires energy and great acting skill.
Different direction for different actors
The story’s title and direction both have various versions. The most popular title is the one used here. The production under that name has two versions, one conceived by Nakamura Kichiemon I and the other by Ichimura Uzaemon XV, both in the first half of the 20th century. The former is carried on today by the actors Kichiemon II and Matsumoto Koshiro IX, and the latter by Onoe Kikugoro VII, Kataoka Nizaemon XV and Nakamura Baigyoku IV. The latter was also pursued by the late Nakamura Tojuro V and Ichikawa Danjuro XII. Because Uzaemon’s guild name was Tachibanaya, the title in his case is sometimes Na Mo Tachibana Homare no Ishikiri.
Kichiemon and Uzaemon
The primary difference between these two styles is the cutting of the basin. Kichiemon turns with his back to the audience. Uzaemon stands behind the basin facing the audience and cuts it, then jumps forward between the two halves, prompting a dialogue among the characters: Daughter: “Oh, father!” Kajiwara: “What a sword!” Rokuro: “What a swordsman!” For Japanese audiences, this leap over the basin recalls the birth of fairy tale hero Momotaro, who is said to have burst from a peach when it was split open. This eye-catching method is in line with the dynamic acting style of the Uzaemon family. In contrast, Kichiemon takes a more understated approach, emphasizing the inner strength of the great warrior. This provides a deeper and more refined portrayal, especially when played by an older actor.
Ganjiro style
Sakata Tojuro IV presents the part in the style of his grandfather Nakamura Ganjiro I. The title is changed to Kajiwara Heizo Tameshi no Wazamono (Kajiwara Heizo Tests the Great Sword). The show is set not at the famed Hachiman Shrine but, as in the original script, at Kamakura’s lesser known Hoshiai Temple. Tojuro offers a more densely textured style typical of the Kansai area.
Interesting differences in styles and performers
Kabuki dramas in principle follow long-established production styles, but often include variations depending on the actor. This show has several marked differences that reflect the character and personality of the actor in the lead role. Kabuki is an actor’s art, and one of the enjoyments is seeing how individual actors mold the parts to their skills. In this respect, this play is particularly suitable for appreciating different styles by various actors.
