Research of Kabuki performance in local areas -Tono, Nanshin, and Mikawa areas

400年前，出云的奥基米在京都首次跳起了歌舞伎舞。从那时起，它在日本传播开来，但它从一种只由男性表演者表演的艺术，在幕府政府的严格控制下，大西白(大型戏剧)在三个城市(江户、京都、大阪)上演。除了Oo-Sibai，几个地方都有Miyati-Sibai(百日许可证)的演出。名古屋和金泽这样的大城堡小镇，伊势宫和宫岛等大教堂小镇也喜欢这一百天的演出。即使在那时，农业和渔业地区的人们也很难欣赏到歌舞伎乐。他们可能是在看了巡回演出团罕见的一两天表演后被歌舞伎所吸引的。然而，这是一个原则，歌舞伎在农村和fshing地区是被禁止的，所以他们在天才地方节或村子里的节日里把歌舞伎作为一种娱乐。这是一个乡村话剧的开始。The…更多的人买下了整个剧团，或者他们通过模仿专业人士来表演。前者被称为“买”或“问”石白，后者被称为“买”或“求”。它可能始于源流时期(1688-1704)，在江户时代中期，它蔓延到日本各地。一些村庄有为此目的的剧院，并设立了一个特殊的演出日。然而，乡村演出是一次性的，规模很小，只有少数村民观看，所以不像乌石拜，它没有足够的研究材料&每个地方可能都有独特的作品或制作，但由于戏剧的脆弱性，它可能没有保留原有的戏剧形式。人口的减少和现代化将加速物质的消失。重要的是要依赖文学文献，所以本研究试图从剧本中看到乡村戏剧的实际情况。地方戏剧在东野、南心和三川地区很受欢迎，对地方戏剧剧本的存在进行了检查和研究。这些信息现在被保存在数据库中。从这一点可以清楚地看出，这些地区的地方戏剧是由一名流动演员编排的，并在他们的指导下。这意味着这些地方的戏剧受到了kamigata(京都和大阪)tyu、ko-sibai(中小型戏剧)的强烈影响。

Okimi of Izumo had her first Kabuki dance in Kyoto 400 years ago. Since then, it has spread in Japan, but it changed into an art from performed by male only performers under the strict control of the Shogun government Oo-sibai (grand plays) were performed in the three urban cities (Edo, Kyoto, Osaka). Except for oo-sibai, performances were conducted in several places with miyati-sibai (the permit of the length of a hundred days). Big castle towns like Nagoya and Kanazawa, and cathedral towns like Ise and Miyajima also enjoyed these one hundred day performances. Even then it was diffcult for people in agricultural and fishing areas to eqjoy Kabuki. They may have been attracted to Kabuki when they saw a rare one or two day performance by a traveling troupe. However, it was a principle that Kabuki had been prohibited in rural and fshing areas, so they enjoyed Kabuki as an entertainment at the festival of the genius loci, or on village holidays. This is the beginning of a village play. The … More people bought up the whole troupe or they perfbrmed by copying professionals. The former is called kai-(buying) or uke-(asking)shibai(play) and the latter is called ji-(local) shibai or ji-kyogen. It might have started in the period of Genroku (1688-1704) and in the middle of the Edo period it spread all over Japan. Some villages had theaters for this purpose, and a special day was set up for performances. Then each had a unique development However, a village performance was a one-time and small-scale in cident with the audiences of small number of villagers, so unlike oo-shibai it does not have enough research material& Each place may have had a unique work or production, but it may not have kept the original form of a play because of vulnerability of plays. Depopulation 'and modernization will accelerate disappearance of materials. it is important to depend on literary documents, so this research tries to see the actual conditions of village play from scripts. Local plays are popular in the Tono, Nanshin and Mikawa areas, and whether scripts of local plays exist or not was checked and studied. The information is now on a database. From this it is clear that local plays in these areas were choreographed by a traveling actor and they were under their guidance. This means that these were strongly influenced by the kamigata (Kyoto and Osaka) tyu, ko-sibai(middle and small plays). Less