This paper discusses
813 (1923) performed by Ii Yoho’s theatre company at the Hongoza (Hongo Theatre). This play is an adaptation of Maurice Leblanc’s detective novel,
813; however, some of the characters and settings have been replaced with Japanese alternatives, and some scenes have been omitted.
Ii Yoho (1871–1932) is considered a leading actor of the Shinpa: a new theatre school known to be significantly different from traditional Kabuki, which was established in the Meiji era. He first appeared on stage at the Seibikan in 1891 and remained at the forefront of Shinpa until his death in 1932. His productions are considered to be influenced by Kabuki, exposing him significantly to the disdain of theatre critics. Consequently, Shinpa is now regarded as an imitation of Kabuki. Early-Shinpa was undoubtedly influenced by Kabuki; however, it sought its own unique style as well. Kawakami Otojiro (1864–1911), a leading actor of Early-Shinpa, is thought to have spent his life working on a style of theatre that differed from Kabuki. Predominantly for this reason, some researchers argue that Early-Shinpa and Shinpa should be classified as separate genres with different lineages.
However, there are elements in the staging of
813 that suggest a continuity between Early-Shinpa and Shinpa. The first reason is that it is an adapted detective play. The early-Shinpa frequently staged detective plays based on newspaper reports of crimes and detective novels from the West. Such performances continued existing until the early Showa period. Ii Yoho also staged detective plays. The staging of
813, based on Leblanc’s detective novel, suggests that Ii adopted the performance of detective plays from Early-Shinpa; another reason is the use of spectacular stage design in its production. In the pre-production publicity, Ii had touted the newly designed stage set as a selling proposition of
813. The sets were equipped with devices such as trapdoors, lifts and hidden spaces, and a film was used to represent the big fire scene. These techniques were once the specialty of Kawakami Otojiro. In the staging of his 1894 trilogy of works
Igai (meaning ‘unforeseen’),
Mata-Igai and
Mata-Mata-Igai, he utilized the latest technology of his time. Notably, the appearance of a full-scale locomotive on stage in
Mata-Mata-Igai was applauded by the audience. It is thought that Ii’s attempt to attract audiences with the latest stage sets was greatly influenced by the work of Kawakami. In summary, the performance of
813 shows Shinpa still retains some of the characteristics of Early-Shinpa in the Taisho period.
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