shosagoto
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Image:日本舞踊 長唄「鷺娘」.jpg}} actor Akifusa Guraku performing {{Transliteration|ja|Sagi Musume}} (The Heron Maiden)]]
{{nihongo||所作事|Shosagoto}} or {{nihongo||振事|furigoto}}, also known as dance or dance-drama, is a type of kabuki play based on dance. It is one of the three genres of kabuki, together with {{Transliteration|ja|jidaimono}} (historical plays) and {{Transliteration|ja|sewamono}} (contemporary plays).
A central element of kabuki since its origin in 1603, {{Transliteration|ja|shosagoto}} plays became an important part of the kabuki repertoire towards the end of the 17th century, and still forms a key part of the kabuki repertoire today. For example, the January 2018 program at the Kabuki-za in Tokyo included three {{Transliteration|ja|shosagoto}} performances.{{cite web |url=https://www.kabukiweb.net/theatres/kabukiza/performance/january_2.html |title=January at the Kabukiza Theatre |author= |date= |website= |publisher=Kabuki Official Website |access-date=2017-12-27 |quote=}}
There are several types of kabuki dances. An important difference is between the mainly non-narrative dances with {{Transliteration|ja|nagauta}} accompaniment (such as {{Transliteration|ja|Fuji Musume}}), and the more dramatic ones, with complex storylines and characters (such as {{Transliteration|ja|Kanjinchō}}). The {{Transliteration|ja|nagauta}} musicians are often seated in rows on stepped platforms behind the dancers.{{cite book |url=https://books.google.com/books?id=6NLGxdXEkvIC&pg=PA115|title=Historical Dictionary of Japanese Traditional Theatre |first= Samuel L.|last= Leiter |date=16 January 2006 |page=115 |publisher=Scarecrow Press |isbn=9780810865143 }} There are many other distinctions and styles. For example, {{Transliteration|ja|matsubame mono}} dances include particularly theatricalized sets and costumes, often including quick on-stage changes of clothes (called {{Transliteration|ja|hikinuki}}). {{Transliteration|ja|Hengemono}} dances involve a single actor playing different roles.
History
From the very origin of kabuki in 1603, when Izumo no Okuni began performing in the dry riverbeds of Kyoto - a style referred to as {{Transliteration|ja|okuni kabuki}} - dance has been a central element of kabuki, and in fact those first performances involved more dance and music than drama.{{cite web |url=http://nihonbuyo.or.jp/about-us/what-is-nihon-buyo/ |title=What is Nihon Buyo? |author= |date= |website= |publisher=Nihon Buyo |access-date=2017-10-03 |quote=}}
An important early development of dance in kabuki was the incorporation of elements from {{Transliteration|ja|keigoto}}, {{Transliteration|ja|bunraku}} dance scenes. However, proper {{Transliteration|ja|shosagoto}} dances, performed by {{Transliteration|ja|onnagata}} (lit. "female role") actors, entered the kabuki repertoire in the Genroku period (1688-1704) (see also {{Transliteration|ja|Genroku bunka}}). The form was further developed from the Kyoho to the Horeki period (1716–1764), and {{Transliteration|ja|nagauta}} became the main form of accompaniment.{{cite web |url=http://www2.ntj.jac.go.jp/unesco/kabuki/en/2/2_07.html |title=Development of Shosagoto |author= |date= |website= |publisher=Invitation to Kabuki |access-date=2018-01-11 |quote=}}
The first actor to perfect the genre was Segawa Kikunojo I ({{circa|1693–1749}}), considered an excellent dancer and the best {{Transliteration|ja|onnagata}} in Edo during the first half of the 18th century. He became very successful shortly after arriving to the city in 1730 by performing the leading role on the dance {{Transliteration|ja|Aioi Jishi}} at the Nakamura-za. He specialized in the performance of {{Transliteration|ja|Shakkyomono}} (such as {{Transliteration|ja|Aioi jishi}}) and {{Transliteration|ja|Dojojimono}} dances.{{cite web |url=http://www2.ntj.jac.go.jp/unesco/kabuki/en/2/2_07.html |title=Development of Shosagoto |author= |date= |website= |publisher=Invitation to Kabuki |access-date=2018-01-11 |quote=}} Some other important dance roles he performed in those early years were {{Transliteration|ja|Sayo no Nakayama Asama-ga-Dake}} (1736), {{Transliteration|ja|Mugen no Kane}} (1739), {{Transliteration|ja|Hanabusa Shishi no Rangyoku}} and {{Transliteration|ja|Makura Jishi}} (1742), and {{Transliteration|ja|Mugen no Kane Omoi no Akatsuki}} (1746).
File:初代中村富十郎-Kabuki Actor Nakamura Tomijūrō I in a Female Dance Role MET DP134614.jpg}}]]
Another important actor in the early development of {{Transliteration|ja|onnagata shosagoto}} was Nakamura Tomijuro I (1719–1786), also said to have perfected kabuki dance.{{cite web |url=http://www2.ntj.jac.go.jp/unesco/kabuki/en/2/2_07.html |title=Development of Shosagoto |author= |date= |website= |publisher=Invitation to Kabuki |access-date=2018-01-11 |quote=}} A native of Osaka, he achieved great success early in his career with performances of a {{Transliteration|ja|Shakkyomono}} dance, particularly in Edo at the Nakamura-za in 1741 and then again in 1748. His greatest accomplishment was his performance of the main role in the debut of one of the most famous kabuki dances, {{Transliteration|ja|Musume Dojoji}}, in 1753, again at the Nakamura-za. The performance was so successful{{cite web |url=http://www2.ntj.jac.go.jp/unesco/kabuki/en/2/2_07.html |title=Development of Shosagoto |author= |date= |website= |publisher=Invitation to Kabuki |access-date=2018-01-11 |quote=}} that it was staged for several months, and Tomijuro became one of the most famous actors in Edo.{{cite web |url=http://www2.ntj.jac.go.jp/unesco/kabuki/en/2/2_07.html |title=Development of Shosagoto |author= |date= |website= |publisher=Invitation to Kabuki |access-date=2018-01-11 |quote=}}
References
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{{Reflist|2|refs=
Historical Dictionary of Japanese Traditional Theatre. (2006) p. 367-368.
Historical Dictionary of Japanese Traditional Theatre. (2006) p. 47-48.
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