本願寺坊官下間少進仲之はどのような型で能を演じたのか

──下間少進能型付『岌蓮江問日記』と『少進能伝書』『童舞抄』の比較から見えてくること──

抄録

This paper analyzes the similarities and differences in the performance notations (kata-tsuke) attributed to Shimotsuma Shōshin through a comparative study of three primary sources: Gyūren e Tou Nikki, Shōshin Nō Densho, and Tōbushō. Traditionally, Shōshin's notations have been regarded as belonging to the Konparu school, on the assumption that he inherited his performance tradition from Konparu Gyūren. However, a detailed comparison of the notations for individual plays reveals not a few instances in which Shōshin's descriptions do not coincide with those in Gyūren's text, while some elements instead correspond to performance patterns associated with other schools. Furthermore, a closer examination of the transmission between Gyūren and Shōshin calls into question the conventional view that Shōshin inherited his entire performance tradition directly from Gyūren. These observations suggest that Shōshin's notations should not be understood simply as a continuation of the Konparu tradition. Rather, they appear to have been formed through reference to multiple performance traditions and interpretive approaches. On this basis, this paper proposes that Shōshin's kata-tsuke may constitute a highly independent body of performance notation.