Matsuômaru

Figures of the Modern Stage #6

Matsumoto Koshiro VIII as Matsuômaru in "Kurumabiki" (the struggle for the carriage), scene de Sugawara denju tenarai kagami (Sugawara's secrets of calligraphy) - Series Figures of the Modern Stage #6

現代舞台藝蕐(6) 車曳の松王八代目松本幸四郎丈

The print

Artist: Ôta Masamitsu
Publisher: Miyake Koshodo (Banchoro)
Carver: Ito Susumu (1916-1998)
Printer: Ito Harutoro
Date: 1954 #41/200
Format: Oban-tate
Catalogue: S-294 (note: print is badly foxed)

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The play

Sugawara denju tenarai kagami (Sugawara's secrets of calligraphy) is a long historical play based on the life of Sugawara Michizane (845-903) and the political struggles at the Heian imperial court in the eighth century. Sugawara Michizane was a scholar, close to the emperor and a stateman, victim of his rival Fujiwara Tokihira's manouvres, resulting in his exile to the North of Kyushu (present day Fukuoka). After his death, he was rehabilitated and is now the protector-god of scholars.

The play in five acts was written in 1746 and later modified with the addition of three brothers following an exceptional triplets birth in Osaka in the same year. The play is never fully played, each scene being a play in itself. The most played are Act III, scene I Kurumabiki (the struggle for the carriage) and act IV, scene III Terakoya (the village school). The latter is one of the most moving scene of the kabuki repertoire when Matsuômaru sacrifice his child to save Michizane's.

The Kurumabiki scene is played in aragoto style. Aragoto or "rough style" is a style of kabuki which uses exaggerated and dynamic movements and speech. Aragoto actors typically wear bold red or blue makeup (kumadori) and have costumes that are padded and enlarged. The term "aragoto" is an abbreviation of the term "aramushagoto", which literally means "wild-warrior style". This scene was so popular that it was integrated in the original Bunraku puppet play.

Main characters

Fujiwara Shihei (Fujiwara Tokihira): Adversary of Kan Shojô (Sugawara Michizane). Plotted his disgrace
Sugiômaru: Fujiwara Shihei's stewart
Sakuramaru: One of the three brothers, in service to Prince Tokiyo. His name is linked to the cherry-tree
Umeômaru: One of the three brothers, in service to Kan Shojô. His name is linked to the plum-tree
Matsuomaru: One of the three brothers, in service to Fujiwara Shihei. His name is linked to the pine-tree

The three brothers Sakuramaru, Matsuômaru et Umeômaru in front of the carriage

The plot

The play begins in front of Yoshida Shrine in Kyoto. Since the fall of Kan Shojô and the disgrace of Prince Takiyo, the two brothers Umeômaru and Sakuramaru have found themselves masterless retainers. Umeômaru appears on the hanamichi and Sakuramaru enters the stage from the right. They both wear huge straw travel hats so as not to be recognized. They walk along the shrine, bump into each other and recognize each other. Both lament the banishment of their master, their disgrace and are sad that their brother is still in the service of the one responsible for these misfortunes. At this time, the arrival of a high figure at the shrine is announced. They ask who is coming and the answer is that Fujiwara Shihei is coming in person. They take off their hats, sandals and striking a dramatic pose (mie) decide to attack their enemy. They go away quickly, gesturing wildly (roppô style)

The scenery changes and the main entrance to the sanctuary appears on stage, dominated by a magnificent torii (portico). A large carriage arrives led by Sugiômaru. The two brothers rush to stop him, but Sugiômaru tells them that they are crazy to challenge Shihei. The two brothers quickly change their costumes (bukkaeri) and attack the soldiers. They have no trouble to overcome the four soldiers when a loud voice tells them "Wait!" Matsuômaru appears challenging his two brothers. They begin to rebuke him and reproaching him for serving the person responsible for the disgrace of their masters. But Matsuômaru retorts them that his master's enemies are his enemies and that he will show them how a soldier serves loyally. Umeômaru and Sakuramaru are furious, throw themselves on the carriage and start to destroy it. At this moment, Shihei appears and with supernatural power reduces the two brothers to powerlessness. Matsuômaru intervenes and Shihei spares them with disdain. Matsuômaru reminds them that they must go to their father's house to celebrate his seventieth birthday and that they will not be able to settle their dispute until after this celebration. The curtain falls on the four actors frozen in belligerent poses.

The actor

Matsumoto Koshiro VIII (1910-1982) was awarded the name of Matsumoto Hakuo I en 1981. He was the leading tachiyaku (masculine roles) in the postwar years, worthy heir to his father Matsumoto Koshiro VII and his father-in-law Nakamura Kichiemon I. He was also involved in modern and Western plays. Matsuômaru is probably his best role.

Hanayama - Nakamura Kichiemon I as Matsuômaru (ca.1950)

Poster for a performance in Tokyo in 2019: Matsumoto Hakuo II as Matsuômaru

Natori Shunsen - Bando Hikosaburo VI as Matsuômaru (1928) (Image Artelino)

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