"Imoseyama onna teikin" is a Gidayu-kyogen of Jidaimono [Ochomono/Odaimono] (tales of royalty/tales of the imperial era) describing the activities of Fujiwara Kamatari, his son Tankai, and their party, who are attempting to overthrow the rebel Sogano Iruka who has sworn to take over the imperial throne.
The 'Yoshinogawa' scene describing the tragedy of Koganosuke and Hinadori who love each other but who lose their lives due to the tyranny of Iruka, 'Michiyuki koi no odamaki' (a stylized scene persformed entirely as dance) in which the love triangle of sake-shop Omiwa and Tachibanahime both loved the same man, Motome, and 'Mikasayama goten' scene in which Omiwa is sacrificed in order to kill Iruka, are most commonly performed.
The 'Yoshinogawa' scene describing the tragedy of Koganosuke and Hinadori who love each other but who lose their lives due to the tyranny of Iruka, 'Michiyuki koi no odamaki' (a stylized scene persformed entirely as dance) in which the love triangle of sake-shop Omiwa and Tachibanahime both loved the same man, Motome, and 'Mikasayama goten' scene in which Omiwa is sacrificed in order to kill Iruka, are most commonly performed.
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| Culture Digital Library: Work expalnation "Imoseyama onna teikin" |
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![Dazai family [left] and Daihanji family [right] shown in contrast on the two sides of the river in the 'Yoshinogawa' scene](images/img_5_04_02-01.jpg) |
Chikamatsu Hanji [1725 - 1783], the Tatesakusha (leading writer among the joint writers) of this work, was active as a writer of Ningyo-joruri in the middle of the Edo period. His speciality was Jidaimono, massive stories filled with variety, and he left us many excellent works. His most important works were converted for Kabuki as Gidayu-kyogen, and are still regularly performed.
Common distinction of Hanji's works is their depiction of contrasting settings and contrasting characters of various status levels.
This distinction is clearly shown in 'Yoshinogawa' scene. The above nishikie print illustrates this scene. The houses of the Dazai family and Daihanji family, being hostile to each other because of a dispute concerning their territories, are arranged opposite each other at left and right on the banks of the Yoshino river which runs through the center of the stage.
Also, a Kari(temporary)-hanamichi is set up on Kamite (stage left, audience's right) side. The two Hanamichi are likened to the banks of the Yoshino river. Sadaka, mother of Hinadori, appears on the Hon-hanamichi [name given to the ordinary Hanamichi when a Kari-hanamichi is set up], and Daihanji Kiyozumi, father of Koganosuke, appears on the Kari-hanamichi. The Hon-hanamichi and Kari-hanamichi are used effectively in this production when Sadaka and Daihanji exchange words across the river.
Common distinction of Hanji's works is their depiction of contrasting settings and contrasting characters of various status levels.
This distinction is clearly shown in 'Yoshinogawa' scene. The above nishikie print illustrates this scene. The houses of the Dazai family and Daihanji family, being hostile to each other because of a dispute concerning their territories, are arranged opposite each other at left and right on the banks of the Yoshino river which runs through the center of the stage.
Also, a Kari(temporary)-hanamichi is set up on Kamite (stage left, audience's right) side. The two Hanamichi are likened to the banks of the Yoshino river. Sadaka, mother of Hinadori, appears on the Hon-hanamichi [name given to the ordinary Hanamichi when a Kari-hanamichi is set up], and Daihanji Kiyozumi, father of Koganosuke, appears on the Kari-hanamichi. The Hon-hanamichi and Kari-hanamichi are used effectively in this production when Sadaka and Daihanji exchange words across the river.
<Major works by Chikamatsu Hanji performed in Kabuki>
| • "Igagoe dochu sugoroku" |
| > "Oshu adachigahara" |
| • "Omi genji senjin yakata" |
| > Shimpan utazaimon |
| > "Honcho nijushiko" |
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