Bandō Mitsugorō III
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(1773–1831) was a prominent male
kabuki is a classical form of Theatre of Japan, Japanese theatre, mixing dramatic performance with Japanese traditional dance, traditional dance. Kabuki theatre is known for its heavily stylised performances, its glamorous, highly decorated costumes ...
actor. He was considered one of the best ''
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, ...
'' (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 (上方) was the colloquial term for a region today called Kansai region, Kansai (''kan'', barrier; ''sai'', west) in Japan. This large area encompasses the cities of Kyoto, Osaka, and Kobe. The term was also sometimes used to refer only ...
(Kyoto-Osaka) actor Nakamura Utaemon III. He was also known as Eiki Mitsugorõ or Eiki-no Mitsugorõ. His disciples included Bandõ Mitsue.


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 ''
yagō , literally meaning "house name", is a term applied in traditional Japanese culture to Japanese name, names passed down within a guild, studio, or other circumstance other than blood relations. The term is synonymous with and . The term most ofte ...
''). 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 I (1813-6 March 1855), 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 Like most Kabuki actors, and many artists of the time, Shūka had a number of other n ...
, and reared 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-za The Morita-za (森田座・守田座), also known later as the Shintomi-za (新富座), was one of the major Kabuki theaters in Edo (modern-day Tokyo) during the Edo period and into the beginning of the 20th century. It was established in January 1 ...
, 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 was one of the three main ''kabuki'' theatres of Edo alongside the Morita-za and Ichimura-za. History It was founded in 1624 by Nakamura Kanzaburō 1st. The Nakamura-za relocated to the new capital Tokyo in 1868 and reopened under Nakamura ...
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 is a form of competitive full-contact wrestling where a ''rikishi'' (wrestler) attempts to force his opponent out of a circular ring (''dohyō'') or into touching the ground with any body part other than the soles of his feet (usually by th ...
wrestlers, and lead hero roles in some of the most popular and famous kabuki plays. In May 1815, he performed 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 stretche ...
alongside
Iwai Hanshirō 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 Hanshirō IV.Nussbaum, Louis Frédéric ''et al.'' (2005). Iwai H ...
, 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 is a Cities designated by government ordinance of Japan, designated city in the Kansai region of Honshu in Japan. It is the capital of and most populous city in Osaka Prefecture, and the List of cities in Japan, third-most populous city in J ...
in December 1820. There, he performed primarily at the Kado no Shibai, and frequently alongside Utaemon III. He also spent time performing in
Nagoya is the largest city in the Chūbu region of Japan. It is the list of cities in Japan, fourth-most populous city in Japan, with a population of 2.3million in 2020, and the principal city of the Chūkyō metropolitan area, which is the List of ...
, and in
Kyoto Kyoto ( or ; Japanese language, Japanese: , ''Kyōto'' ), officially , is the capital city of Kyoto Prefecture in the Kansai region of Japan's largest and most populous island of Honshu. , the city had a population of 1.46 million, making it t ...
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 was the leader of a group of bandits during the Azuchi-Momoyama period in Japan. Over time, and especially during the Edo period (1603-1867), his life and deeds became a center of attention, and he became known as a legendary Japanese outlaw h ...
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 ''Yoshitsune Senbon Zakura'' (義経千本桜), or ''Yoshitsune and the Thousand Cherry Trees'', is a Japanese play, one of the three most popular and famous in the kabuki repertoire. Originally written in 1747 for the bunraku, jōruri puppet the ...
'', '' 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.


References


External links


Bandō Mitsugorō III at Kabuki21.com
{{DEFAULTSORT:Bando, Mitsugoro 3 Kabuki actors 1773 births 1831 deaths Male actors from Tokyo Tachiyaku actors Yamatoya