Changes

Unlike his [[Edo]] counterpart, [[Ichikawa Danjuro I|Ichikawa Danjûrô I]], Tôjûrô's line lasted a very few generations and died out less than a century after his death. His sons [[Sakata Tokuro|Sakata Tôkurô]] and [[Sakata Heishichiro|Sakata Heishichirô]] were active in the kabuki world, but neither succeeded to the Tôjûrô name. Rather, [[Sakata Tojuro III|Sakata Tôjûrô II]] was an unrelated disciple of the first Tôjûrô; his successor in turn, [[Sakata Tojuro II|Sakata Tôjûrô III]], was a distant relative of the first Tôjûrô, and was adopted by Tôjûrô II.

Unlike his [[Edo]] counterpart, [[Ichikawa Danjuro I|Ichikawa Danjûrô I]], Tôjûrô's line lasted a very few generations and died out less than a century after his death. His sons [[Sakata Tokuro|Sakata Tôkurô]] and [[Sakata Heishichiro|Sakata Heishichirô]] were active in the kabuki world, but neither succeeded to the Tôjûrô name. Rather, [[Sakata Tojuro III|Sakata Tôjûrô II]] was an unrelated disciple of the first Tôjûrô; his successor in turn, [[Sakata Tojuro II|Sakata Tôjûrô III]], was a distant relative of the first Tôjûrô, and was adopted by Tôjûrô II.

Following the death of Tôjûrô III in 1774, no one held the name of Sakata Tôjûrô for over 230 years, until in 2005, the third Nakamura Ganjirô revived the name, becoming Sakata Tôjûrô IV.

Following the death of Tôjûrô III in 1774, no one held the name of [[Sakata Tojuro|Sakata Tôjûrô]] for over 230 years, until in 2005, the third Nakamura Ganjirô revived the name, becoming Sakata Tôjûrô IV.

==Life and career==

==Life and career==

After a number of years in Osaka, Tôjûrô returned to Kyoto, where he continued performing regularly. The year 1693 saw the premiere, at the Miyako Mandayû theatre, of ''Butsumo Mayasan Kaichô'', the first of a number of plays written by the great [[bunraku]] playwright [[Chikamatsu Monzaemon]] specifically for Tôjûrô. As ''zamoto'', Tôjûrô not only performed regularly, but oversaw the production of plays along with the management and upkeep of the theatre. In addition to performing at his own Miyako Mandayû theatre, he performed at Kyoto theatres owned by [[Hayagumo Chodayu|Hayagumo Chôdayû]], [[Kameya Kumenojo|Kameya Kumenojô]], and [[Hoteiya Umenojo|Hoteiya Umenojô]], the last of which was managed by his son, Sakata Heishichirô.

After a number of years in Osaka, Tôjûrô returned to Kyoto, where he continued performing regularly. The year 1693 saw the premiere, at the Miyako Mandayû theatre, of ''Butsumo Mayasan Kaichô'', the first of a number of plays written by the great [[bunraku]] playwright [[Chikamatsu Monzaemon]] specifically for Tôjûrô. As ''zamoto'', Tôjûrô not only performed regularly, but oversaw the production of plays along with the management and upkeep of the theatre. In addition to performing at his own Miyako Mandayû theatre, he performed at Kyoto theatres owned by [[Hayagumo Chodayu|Hayagumo Chôdayû]], [[Kameya Kumenojo|Kameya Kumenojô]], and [[Hoteiya Umenojo|Hoteiya Umenojô]], the last of which was managed by his son, Sakata Heishichirô.

He is particularly famous for performing alongside [[Yoshizawa Ayame I]], the chief pioneer ''[[onnagata]]'', specializing in playing only female roles. Tôjûrô is also known for his friendship with Edo actor [[Nakamura Shichisaburo I|Nakamura Shichisaburô I]], whom he met when the latter was on tour in Kamigata in 1698. Along with Ayame, Tôjûrô features prominently in the "[[Actor's Analects]]", a collection of [[Genroku]] era (1688-1709) writings on kabuki, containing primarily insights into the lives of kabuki actors, their insights and advice on acting.

He is particularly famous for performing alongside [[Yoshizawa Ayame I]], the chief pioneer ''[[onnagata]]'', specializing in playing only female roles. Tôjûrô is also known for his friendship with Edo actor [[Nakamura Shichisaburo I|Nakamura Shichisaburô I]], whom he met when the latter was on tour in Kamigata in 1698. Along with Ayame, Tôjûrô features prominently in the "[[Actor's Analects]]", a collection of [[Genroku]] era (1688-1704) writings on kabuki, containing primarily insights into the lives of kabuki actors, their insights and advice on acting.

Over the course of his career, Tôjûrô played a great many roles, perhaps most frequently that of Fujiya Izaemon, the male lead and Yûjiri's lover in the various versions of ''Yûgiri Nagori no Shôgatsu'' which were written and produced over the years. It was in this role that he made his ''wagoto'' debut in the 1678 production of ''Yûgiri Nagori no Shôgatsu'', and in which he made his final stage appearance, in an October 1708 production by the same name.

Over the course of his career, Tôjûrô played a great many roles, perhaps most frequently that of Fujiya Izaemon, the male lead and Yûjiri's lover in the various versions of ''Yûgiri Nagori no Shôgatsu'' which were written and produced over the years. It was in this role that he made his ''wagoto'' debut in the 1678 production of ''Yûgiri Nagori no Shôgatsu'', and in which he made his final stage appearance, in an October 1708 production by the same name.