Changes

Nobutoki stepped down from his position as ''daimyô'' in [[1773]] and retired to a home in Somei, in the Komagome neighborhood of [[Edo]], in part in order to devote himself more fully to engagement with the theater world, and with ''[[haikai]]'' poetry circles. His diary ''Enyû Nikki'' ("Diary of Banquets and Pleasures") is a valuable text for scholars, providing insights into the worlds of patronage and social circles of that time. It contains daily entries every day for a span of some thirteen years, and includes mention of as many as 119 visits to the Kabuki theater.

Nobutoki stepped down from his position as ''daimyô'' in [[1773]] and retired to a home in Somei, in the Komagome neighborhood of [[Edo]], in part in order to devote himself more fully to engagement with the theater world, and with ''[[haikai]]'' poetry circles. His diary ''Enyû Nikki'' ("Diary of Banquets and Pleasures") is a valuable text for scholars, providing insights into the worlds of patronage and social circles of that time. It contains daily entries every day for a span of some thirteen years, and includes mention of as many as 119 visits to the Kabuki theater.

Yanagisawa not only visited the theater, but also wrote his own plays, which he had his servants and maids perform, granting them actor-sounding names like Bandô Shitsugorô and Ichikawa Benzô. Yanagisawa also commissioned an otherwise unknown ''[[ukiyo-e]]'' artist named Beisha to produce [[yakusha-e|actor prints]] of these workers.

Yanagisawa not only visited the theater, but also wrote his own plays, which he had his servants and maids perform, granting them actor-sounding names like Bandô Shitsugorô and Ichikawa Benzô. Yanagisawa also commissioned an otherwise unknown ''[[ukiyo-e]]'' artist named Beisha to produce [[yakusha-e|actor prints]] of these workers. He also engaged in close social relationships with a number of kabuki actors, including [[Nakamura Nakazo I|Nakamura Nakazô I]]; when the [[Nakamura-za]] was briefly replaced by the [[Kiri-za]] in [[1784]], Nobutoki and Nakazô sent numerous materials back and forth to one another, including advertising materials and other information about the upcoming theater season.

Yanagisawa's love of kabuki was widely known enough that it came to be parodied, in a ''[[kibyoshi|kibyôshi]]'' by Kishida Hôsha and [[Kitao Masayoshi]] entitled ''Kyôgen-zuki yabo daimyô'' ("The Boorish Lord Mad with Theater").

Yanagisawa's love of kabuki was widely known enough that it came to be parodied, in a ''[[kibyoshi|kibyôshi]]'' by Kishida Hôsha and [[Kitao Masayoshi]] entitled ''Kyôgen-zuki yabo daimyô'' ("The Boorish Lord Mad with Theater").

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==References==

==References==

*Timothy Clark, "Edo Kabuki in the 1780s," ''The Actor's Image'', Art Institute of Chicago (1994), 28-30.

*Timothy Clark, "Edo Kabuki in the 1780s," ''The Actor's Image'', Art Institute of Chicago (1994), 28-30, 32.

[[Category:Edo Period]]

[[Category:Edo Period]]

[[Category:Samurai]]

[[Category:Samurai]]