''Kanjinchō'' (勧進帳, ''The Subscription List'') is a

kabuki is a classical form of Japanese dance-drama. Kabuki theatre is known for its heavily-stylised performances, the often-glamorous costumes worn by performers, and for the elaborate make-up worn by some of its performers. Kabuki is thought to ...

dance-drama by Namiki Gohei III, based on the

Noh is a major form of classical Japanese dance-drama that has been performed since the 14th century. Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today. Although the terms Noh and ' ...

play ''

Ataka Ataka may refer to: * Attack (political party), Bulgarian nationalist political party *Ataka (play), a Japanese play used as a source for the film ''The Men Who Tread On the Tiger's Tail'' *9M120 Ataka, a Russian-made anti-tank guided missile * Japa ...

''. It is one of the most popular plays in the modern kabuki repertory. Belonging to the repertories of the Naritaya and Kōritaya guilds, the play was first performed in March 1840 at the

Kawarazaki-za The was one of the major kabuki theatres in Edo (modern-day Tokyo) 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 stretch ...

, in Edo.

Ichikawa Ebizō V may refer to: Places *Ichikawa, Chiba, a city in Chiba, Japan ** Ichikawa Gakuen (Ichikawa Junior and Senior High School), a large private boys and girls school in Moto-kita-kata, Ichikawa, Chiba * Ichikawa, Hyogo, a town in Hyōgo, Japan *Ichikaw ...

, Ichikawa Kuzō II, and Ichikawa Danjūrō VIII played the leading roles of

Benkei , popularly known as simply Benkei, was a Japanese warrior monk (''sōhei'') who lived in the latter years of the Heian Period (794–1185) .html" ;"title="/sup>">/sup>. Benkei led a varied life, first becoming a monk, then a mountain ascetic, ...

, Togashi, and Yoshitsune, respectively. The lines of

Ichikawa Danjūrō is a stage name taken on by a series of Kabuki actors of the Ichikawa family. Most of these were blood relatives, though some were adopted into the family. It is a famous and important name, and receiving it is an honor. There are a number of r ...

and Matsumoto Kōshirō have come to be particularly celebrated for playing the role of Benkei in ''Kanjinchō''. ''Kanjinchō'' was the first kabuki played adapted closely from the

theater. Though bearing the same name and general narrative concept as a 1702 play, one of the ''

Kabuki Jūhachiban The , or Eighteen Best Kabuki Plays, is a set of kabuki plays, strongly associated with the Ichikawa Danjūrō line of actors ever since their premieres. These works were chosen and assembled as "the eighteen" by actor Ichikawa Danjūrō VII (180 ...

'', the modern version of ''Kanjinchō'', going back to 1840, is believed to not be directly derived from or connected to this earlier ''

aragoto , or 'rough style', is a style of kabuki acting that uses exaggerated, dynamic (forms or movements) and speech. roles are characterised by the bold red or blue makeup () worn by actors, as well as their enlarged and padded costumes. The term i ...

'' piece.

Akira Kurosawa was a Japanese filmmaker and painter who directed thirty films in a career spanning over five decades. He is widely regarded as one of the most important and influential filmmakers in the history of cinema. Kurosawa displayed a bold, dyna ...

's film ''

The Men who Tread on the Tiger's Tail is a 1945 Japanese period drama film written and directed by Akira Kurosawa, based on the kabuki play ''Kanjinchō'', which is in turn based on the Noh play '' Ataka''. It depicts a famous 12th century incident in which Yoshitsune and a small ...

'' is partly based on ''Kanjinchō''. ''Kanjinchō'' is performed so often that it is said that seasoned kabuki actors consider it an insult to be asked to rehearse it.

Summary

Taking place in the mid- to late 12th century, the play begins with Togashi Saemon, a local noble, just having been charged with defending a particular gate along the road. He warns his men to be vigilant, for Minamoto no Yoshitsune, the great warrior of the

Minamoto clan was one of the surnames bestowed by the Emperors of Japan upon members of the imperial family who were excluded from the line of succession and demoted into the ranks of the nobility from 1192 to 1333. The practice was most prevalent during the ...

, is said to be traveling on the road, disguised as a

yamabushi are Japanese mountain ascetic hermits. They are generally part of the syncretic religion, which includes Tantric Buddhist, Shinto, and Japanese Taoist elements. Their origins can be traced back to the solitary Yama-bito and some (saints or ho ...

. Yoshitsune and his follower Benkei enter to music, and when stopped by Togashi's men, claim that they are simple priests journeying around the northern provinces, seeking donations for the

Tōdai-ji is a Buddhist temple complex that was once one of the powerful Nanto Shichi Daiji, Seven Great Temples, located in the city of Nara, Nara, Nara, Japan. Though it was originally founded in the year 738 CE, Tōdai-ji was not opened until the year ...

Nara The National Archives and Records Administration (NARA) is an " independent federal agency of the United States government within the executive branch", charged with the preservation and documentation of government and historical records. It i ...

. Togashi thus asks that they prove themselves to be priests and asks for a ''kanjinchō'', a subscription list of those who have donated already. Benkei, having been a mountain ascetic (''yamabushi''), is educated in traditional Buddhist teachings and has little trouble passing as a priest. But he does not have a ''kanjinchō''; so, in a particularly famous moment in kabuki, he pulls out a blank scroll and begins reading from it as if it were a real subscription list. Though Togashi soon gets a look at the blank sheet, he admires Benkei's skill and daring, and after asking a series of difficult questions about Buddhism and the life of a priest, all of which Benkei answers correctly, lets the pair pass anyway. About to escape entirely, the pair are stopped when one of Togashi's guards notices that the porter looks like Yoshitsune. Benkei, thinking quickly, pretends that Yoshitsune is simply his personal porter and begins to beat him for arousing suspicion and causing trouble. The barrier guard insists that they won't pass unless he checks that the porter is not Yoshitsune, and Benkei accuses him of trying to steal from their baggage. On the verge of starting to fight, Benkei states that, to demonstrate that his porter is not Yoshitsune, he will beat him to death (at the time, beating one's own master was a

lèse-majesté Lèse-majesté () or lese-majesty () is an offence against the dignity of a ruling head of state (traditionally a monarch but now more often a president) or the state itself. The English name for this crime is a borrowing from the French, w ...

crime). Togashi sees through the ruse, but pretends not to, on account of his admiration for Benkei's devotion to his master. Continuing on past the gate, Yoshitsune thanks his friend, who apologizes for beating him and bursts into tears—for, supposedly, the first time in his adult life. Togashi returns. Asking forgiveness for his manners, he invites Benkei to drink some ''

sake Sake, also spelled saké ( ; also referred to as Japanese rice wine), is an alcoholic beverage of Japanese origin made by fermenting rice that has been polished to remove the bran. Despite the name ''Japanese rice wine'', sake, and indee ...

'' with him. He accepts, but exaggerates with the alcohol and gets drunk. He starts describing some of his memories from his youth, accompanied by the shamisen ensemble, and then asks Togashi for more ''sake''. Togashi asks instead that Benkei dance for him. Benkei then starts to perform the "dance of longevity." At one point, he signals Yoshitsune to depart while the barrier guards are not watching. As Benkei leaves, he turns one last time to Togashi, whom he knows now has to pay with his own life for helping the enemy. As the curtain falls, with Benkei alone on the ''

hanamichi The is an extra stage section used in Japanese kabuki theater. It is a long, raised platform, running left of centre to the stage through the audience, connecting to the main stage. The is typically used for character entrances and exits, ...

'', he thanks the gods for allowing his master to pass. The play ends with Benkei performing a special roppō, a Kabuki technique for leaving the scene, called ''Tobiroppō,'' jumping on the ''hanamichi''.

Translation

The play was translated into English by James R. Brandon and Tamako Niwa in ''Kabuki Plays (The Zen Substitute and The Subscription List)'', published in 1966.''Kabuki Plays on Stage II: Villainy and Vengeance, 1773-1799''. (2002) p. 244-245. * ''Kabuki Plays (The Zen Substitute and The Subscription List)''. (1966) New York: Samuel French, .

External links

Japan Arts Council, ''Kanjincho (The Subscription List)''

Kanjinchō at Kabuki21.com

References

{{DEFAULTSORT:Kanjincho Kabuki plays 1840 plays Buddhist plays