Difference between revisions of "Tamagusuku Chokun"
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Though it's presumed that he wrote many more, five plays by Tamagusuku survive today, and are still performed<ref name=jinmei/>. They are known today as ''Chôkun no Goban'' ("The Chôkun Five Plays") or just ''Goban'' ("The Five Plays")<ref name=shimpo/>. The other three are: ''Mekarushi'', ''Kôkô nu Maki'' (Filial Piety), and ''Unna Munu Gurui'' (The Madwoman)<ref name=foley/>. | Though it's presumed that he wrote many more, five plays by Tamagusuku survive today, and are still performed<ref name=jinmei/>. They are known today as ''Chôkun no Goban'' ("The Chôkun Five Plays") or just ''Goban'' ("The Five Plays")<ref name=shimpo/>. The other three are: ''Mekarushi'', ''Kôkô nu Maki'' (Filial Piety), and ''Unna Munu Gurui'' (The Madwoman)<ref name=foley/>. | ||
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| + | <!-- 一六八四 - 一七三四 | ||
| + | 琉球の古典劇組踊の創始者。唐名向受佑（しょうじゅゆう）。琉球国王の即位に際し中国皇帝の命をおびた使節が来琉して琉球国王に任命する儀式があった。その使節を冊封使、使節の乗ってきた船を御冠船という。沖縄の古典芸能が一名御冠船踊といわれるのは冊封使を歓待するための芸能であったからである。朝薫は一六八四年生まれる。九二年王城間切惣地頭職を拝命。一七〇四年はじめて薩摩に渡る。〇九年徳川家宣の将軍就任の時、慶賀使節の一員として江戸に上り、通訳をつとめる。一三年踊奉行に就任。一八年再度踊奉行に任じられ、冊封使を歓待するために作戯を命じられる。宮廷芸能は王府の官僚である踊奉行に管掌され、踊奉行は外交に関連する要職であった。薩摩は実質的に琉球を支配しながら琉球の中国貿易の利を確保するため琉球の独立をよそおい、冊封使の滞留中大和めくものを厳禁した。中国の使節を歓待するのに琉球独自の芸能が国策として必要であった。朝薫の創作した組踊は、『執心鐘入』『銘苅子』『孝行之巻』『二童敵討』『女物狂』の五つで、一般に五組と称される。一七三四年没。五十一歳。 「国史大辞典」--> | ||
==References== | ==References== | ||
Revision as of 21:18, 7 December 2013
- Born: 1684
- Died: 1734
- Titles: udui bujô (Magistrate of Dance)
- Japanese/Okinawan: 玉城朝薫 (Tamagusuku Choukun)
Tamagusuku Chôkun was a Ryukyuan aristocrat-bureaucrat credited with the creation of the Ryukyuan dance-drama form known as kumi odori (O: kumi udui).
Tamagusuku was born in what is today the Gibo neighborhood of Shuri[1]. A member of the aristocrat-bureaucrat class of the Kingdom of the Ryûkyû, Tamagusuku had already journeyed to Edo and Kagoshima five times before being named udui bujô (J: odori bugyô; Magistrate of Dance) in 1715. The title was first held by Tansui Ueekata (1623-1683), and was a post chiefly responsible for organizing the formal entertainments of the Chinese investiture envoys to Ryukyu[2].
Having studied and viewed various Japanese dance and drama forms during his trips to Edo and Kagoshima, including Noh, kabuki and kyôgen[3], after regaining the title of udui bujô in 1718, Tamagusuku formulated the dance-drama form known as kumi udui in Okinawan, and as kumi odori in Japanese. It was then performed for the first time, before the Chinese investiture envoys, on a chrysanthemum-viewing day, the ninth day of the ninth month of the lunar calendar, the following year[2].
The two plays performed that day are called Nidô Tichiuchi (The Vendetta of the Two Sons) and Shûshin Kani'iri (Possessed by Love, Thwarted by the Bell)[2].
Though it's presumed that he wrote many more, five plays by Tamagusuku survive today, and are still performed[3]. They are known today as Chôkun no Goban ("The Chôkun Five Plays") or just Goban ("The Five Plays")[1]. The other three are: Mekarushi, Kôkô nu Maki (Filial Piety), and Unna Munu Gurui (The Madwoman)[2].
References
- ↑ 1.0 1.1 "Tamagusuku Chôkun." Okinawa Konpakuto Jiten (沖縄コンパクト事典, "Okinawa Compact Encyclopedia"). Ryukyu Shimpo. 1 March 2003. Accessed 2 November 2009.
- ↑ 2.0 2.1 2.2 2.3 Foley, Kathy. "Kumi Odori's Historical Context and Performance Practice." in Ryukyu Geino: The Legacy of Kin Ryosho. Jimpu Kai USA Kin Ryosho Ryukyu Geino Kenkyusho Hawaii Shibu, 2008. pp45-56.
- ↑ 3.0 3.1 "Tamagusuku Chôkun." Okinawa rekishi jinmei jiten (沖縄歴史人名事典, "Encyclopedia of People of Okinawan History"). Naha: Okinawa Bunka-sha, 1996. p46.
