“Reformation” and “Reminiscence” in Meiji Kabuki: Focusing on Yumemonogatari Rosei no Sugata-e

Abstract

Yumemonogatari Rosei no Sugata-e, which written by Kawatake Mokuami and premiered in 1886, is renowned as one of the katsureki-mono (new historical plays) promoted by Ichikawa Danjūrō IX, and Danjūrō strived to exemplify his perspective toward the reformation of existing historical plays in his performance as the main character, Watanabe Kazan. However, the elements irrelevant to Danjūrō have been neglected in research to date, since Yumemonogatari was firmly defined as a representative katsureki-mono. In this context, this study aims to shed light on the other main character, Takano Chōei, played by Ichikawa Sadanji under the influence of the playwright Mokuami, in order to illustrate two trends in the kabuki industry in the middle of Meiji period: “reformation” and “reminiscence”.

With the support of contemporary intellectuals, including Matsumoto Ryojūn who suggested the creation of Yumemonogatari, Danjūrō portrayed Kazan as an idealistic literati and samurai, which was aligned with his philosophy on katsureki-mono. For instance, he embodied the essence of katsureki-mono that pursued historical investigations and his own acting method based upon modern realism. On the other hand, Sadanji based his performance of Chōei on his sewa-mono characters from the late Edo and early Meiji periods. I argue that this reflected the intention of Mokuami who often used theatrical methods stimulating nostalgia for Edo culture in audiences that were critical of the kabuki reform movement and also katsureki-mono.