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[[File:Moritaza-stone.jpg|right|thumb|300px|Stone marker marking the former site of the Morita-za, at Tokyo, Taitô-ku, Asakusa 6-26-11.]]
[[File:Moritaza-stone.jpg|right|thumb|300px|Stone marker marking the former site of the Morita-za, at Tokyo, Taitô-ku, Asakusa 6-26-11.]]
*''Founded: [[1660]]''
*''Founded: [[1660]]''
*''Destroyed: [[1923]]''
*''Destroyed: 1923''
*''Other Names'': 勘弥座 ''(Kan'ya-za)''
*''Japanese'': 森田座・守田座 ''(Morita-za)''
*''Japanese'': 森田座・守田座 ''(Morita-za)''
==History==
==History==
The Morita-za was first built by [[Morita Tarobei I]] and his son [[Morita Kanya I|Morita Tashichi]] in 1660, in Edo's Kobiki-chô district. The theater would burn down only a few months later, and many more times over the years, but was always rebuilt (until 1923). It was designated as one of only four theaters allowed to operate in Edo, by a [[1670]] government edict; the other three officially designated theaters were the [[Nakamura-za]], [[Ichimura-za]], and [[Yamamura-za]]. After all four were destroyed in the [[1703]] [[1703 Genroku earthquake|Great Genroku fire]], and rebuilt, there began a tradition of co-producing plays for New Year's celebrations.
The Morita-za, originally known as the Kan'ya-za,<ref>Gallery labels, Edo-Tokyo Museum.[https://www.flickr.com/photos/toranosuke/46301338735/sizes/h/]</ref> was first built by [[Morita Tarobei I]] and his son [[Morita Kanya I|Morita Tashichi]] in 1660, in Edo's Kobiki-chô district. The theater would burn down only a few months later, and many more times over the years, but was always rebuilt (until 1923). It was designated as one of only four theaters allowed to operate in Edo, by a [[1670]] government edict; the other three officially designated theaters were the [[Nakamura-za]], [[Ichimura-za]], and [[Yamamura-za]]. After all four were destroyed in the [[1703]] [[1703 Genroku earthquake|Great Genroku fire]], and rebuilt, there began a tradition of co-producing plays for New Year's celebrations.
The Morita-za experienced great success for a time, and took part in a number of major events along with the other three top theaters; for example, in [[1717]], [[Chikamatsu Monazemon|Chikamatsu]]'s ''[[Battles of Coxinga]]'', performed at the Morita-za and two other theaters, was the first instance of a ''[[bunraku]]'' puppet play being adapted to kabuki.
The Morita-za experienced great success for a time, and took part in a number of major events along with the other three top theaters; for example, in [[1717]], [[Chikamatsu Monazemon|Chikamatsu]]'s ''[[Battles of Coxinga]]'', performed at the Morita-za and two other theaters, was the first instance of a ''[[bunraku]]'' puppet play being adapted to kabuki.
However, in [[1734]], the Morita-za went bankrupt, and was forced to transfer the rights to its performances to another theatre, through the ''[[hikae yagura]]'' system. [[Kawarazaki Gonnosuke III]] of the [[Kawarazaki-za]], took over the Morita-za's place as a designated theater for a decade or so. This relationship between the two theaters would continue through the Edo period, as the Morita-za went bankrupt numerous times in the late 18th and early 19th centuries.
However, in [[1734]], the Morita-za went bankrupt, and was forced to transfer the rights to its performances to another theatre, through the ''[[hikae yagura]]'' system. [[Kawarazaki Gonnosuke III]] of the [[Kawarazaki-za]], took over the Morita-za's place as a designated theater for a decade or so. This relationship between the two theaters would continue through the Edo period, as the Morita-za, always the lowest-ranking and least financially stable of the three or four licensed theatres,<ref>Timothy Clark, "Edo Kabuki in the 1780s," ''The Actor's Image'', Art Institute of Chicago (1994), 28.</ref> went bankrupt numerous times in the late 18th and early 19th centuries.
Though on shaky ground in terms of financial stability, the Morita-za would see a great number of significant kabuki events over the following decades, including the introductory performances of many now-famous plays, and other such special occasions. In [[1781]], [[Ichikawa Danzo IV|Ichikawa Danzô IV]], performing at the Morita-za, became the first performer to take on seven roles in the grand epic ''[[Kanadehon Chushingura|Kanadehon Chûshingura]]'' (The Tale of [[the 47 Ronin]]).
Though on shaky ground in terms of financial stability, the Morita-za would see a great number of significant kabuki events over the following decades, including the introductory performances of many now-famous plays, and other such special occasions. In [[1781]], [[Ichikawa Danzo IV|Ichikawa Danzô IV]], performing at the Morita-za, became the first performer to take on seven roles in the grand epic ''[[Kanadehon Chushingura|Kanadehon Chûshingura]]'' (The Tale of [[the 47 Ronin]]).
==Reference==
==Reference==
*[http://kabuki21.com/moritaza.php Morita-za at Kabuki21.com]
*[http://kabuki21.com/moritaza.php Morita-za at Kabuki21.com]
<references/>
==External Links==
==External Links==