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actor; however, it is said that once
Yoshida began taking Noh lessons, his kabuki suffered, and soon lost popularity to Yoshizawa. Yoshizawa then took on the guild name "Tachibanaya", and Tachibana's nickname "Gonshichi" as well, in honor of his patron, and in thanks for his guidance.
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of his time and was an artist of ability, who developed the unique technique which was to be a model for the actors of the future. His ideas and secrets were written down in a book called 'Ayamegusa', which was afterwards regarded as the Bible of the female impersonator."
441:(極上上吉extreme-superior-superior-excellent). He achieved the same ranking in Edo three years later, a rare feat considering that most actors did not see success in both Kamigata and Edo, and many did not travel between the two regions at all.
385:, and that he not allow the study of Noh or other disciplines to corrupt his chanting, dancing, and acting style. In his early years on stage, Yoshizawa was often compared to, and outshined by,
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Performing primarily in Kyoto, with some brief stints in Osaka, Ayame acted in countless plays, and became very well regarded in the
Kamigata theatre world. In 1711, he was ranked in the Kyoto
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The playwright
Fukuoka Yagoshiro, who knew Ayame personally, put down a series of training techniques that he acquired from Ayame (and others that worked with him) in a chapter titled
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413:(Kyoto and Osaka), however, he always went by Ayame. Upon his return from Edo the first time, in 1693, he performed for the first time alongside
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255:, he is quoted as saying that "if does not live his normal life as if he was a woman, it will not be possible for him to be called a skillful
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once more in 1723. Later that year, he left Kyoto for the final time, settling in Osaka, and appearing onstage for the last time in 1728.
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Do not become over-excited from the praise from the audience. This will cause you to repeat what was done before and thus betray the art.
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chanting and acting as well, seeking lessons from
Tachibana, but was refused. His patron insisted that he focus on learning to be an
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Though most commonly known as Ayame, Yoshizawa took on the stage names of
Yoshizawa Kikunojō during a brief stint performing in
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Keep the audience in mind despite what would happen in the real world. Keep a balance between realism and imagination.
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Trained in the shamisen and in the ways of Kabuki, Ayame, known as
Ayanosuke in his childhood, sought to learn
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wife, one must be able to use his sword better than his husband. This represents the loyal heart within the
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player
Mizushima Shirobei in the troupe of actor Arashi San'emon I, and later under San'emon himself.
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468:. The chapter outlines secrets that Ayame used to perfect his craft within himself and others.
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428:. Ayame and Tōjūrō would perform as partners countless times over the course of their careers.
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448:. He performed in male roles for two years, but was not popular in these roles, and became an
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for three years. He would return to Edo again, briefly, in
November 1695, performing at the
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must remember to always remain feminine, while at the same time, never at complete ease.
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A.C. Scott wrote that "Yoshizawa Ayame I was regarded as the greatest onnagata or
228:(菖蒲草, "The Words of Ayame"), one section of the famous treatise on Kabuki acting,
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that feels he is unable to play a woman is "ignorant of a woman's feelings."
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The actor must live his life as a woman in order to become a truly skilled
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Even when playing strong-willed women, one must bear in mind a soft heart.
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220:(specialist in female roles) of his time. His thoughts on acting, and on
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Do not force a habit to go away. It will cause concentration to be lost.
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An actor must be willing to divert from a successful pattern of acting.
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After many more successes onstage, Ayame decided, in 1721, to become a
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Ayame traveled to Edo for the first time in 1690, and performed at the
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281:(in male roles). He also used the name "Gonshichi" as a nickname (替名,
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An actor should focus on one type of theatre to truly hone his craft.
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370:, became his patron, arranging for him an apprenticeship first under
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behave as women in all their interactions, both onstage and off. In
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Ayame had four sons who followed their father in acting. They were
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475:竜 (the Japanese character for dragon) is too strong to use in an
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Use your skills to make the lesser actors seem like good actors.
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Always think of giving and receiving with your partner onstage.
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is referred to as "young", it means that he did well onstage.
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Yoshizawa
Kikunojō, Yoshizawa Gonshichi, Shunsui, Tachibanaya
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437:(a regular publication ranking actors and performances) as
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One must not eat food that would make him seem unladylike.
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An actor cannot allow the text to insult them personally.
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291:(俳名, poetry name) was Shunsui, and his guild name (家名,
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There is no actor who can play both a man and a woman.
285:) used when patronizing a brothel or restaurant. His
136:Yoshizawa Ayame I in an illustration from the 1693
46:. Unsourced material may be challenged and removed.
409:under the stage name Yoshizawa Kikunojō. When in
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342:Ayame also had a number of disciples, including
612:. New York: Columbia University Press. pp49–66.
472:Carefully bear in mind the softness of a woman.
275:, and Yoshizawa Gonshichi when performing as a
535:must always play the part of a virtuous woman.
210:(初代 吉沢 菖蒲) (1673-15 July 1729) was an early
619:. Tokyo: Kodansha International. pp181–223.
106:Learn how and when to remove this message
224:acting in particular, were recorded in
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593:- the line of actors bearing the name.
511:Do not try to make the audience laugh.
247:Ayame is famous for advocating that
44:adding citations to reliable sources
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567:Acting should create truth onstage.
564:An actor must keep a child's heart.
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702:17th-century Japanese male actors
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604:Yoshizawa Ayame I at Kabuki21.com
608:Dunn, C. and B. Torigoe (1969).
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214:actor, and the most celebrated
31:needs additional citations for
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1:
634:George Allen & Unwin Ltd.
617:The Stars who Created Kabuki'
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615:Kominz, Laurence R. (1997).
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632:The Kabuki Theatre of Japan
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561:even in the dressing room.
538:Do not be a selfish actor.
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464:that can be found in The
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335:were his grandsons, and
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557:will continue to be an
697:Male actors from Kyoto
422:Butsumo Mayasan Kaichō
424:by famous playwright
420:, in the premiere of
333:Yoshizawa Matatarō II
143:Amayo no Sambai Kigen
426:Chikamatsu Monzaemon
339:his great-grandson.
321:Yamashita Matatarō I
301:Tachibana Gorozaemon
40:improve this article
630:Scott, A.C. (1955)
610:The Actors Analects
553:A truly successful
325:Nakamura Tomijurō I
317:Yoshizawa Ayame III
299:, after his mentor
241:female impersonator
55:"Yoshizawa Ayame I"
462:The Words of Ayame
362:Ayame was born in
352:Yoshizawa Tamazuma
348:Yoshizawa Takegorō
337:Yoshizawa Iroha II
313:Yoshizawa Ayame II
692:People from Kyoto
652:Kominz, pp181–223
344:Yoshizawa Sengiku
329:Yoshizawa Ayame V
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138:woodblock printed
122:Yoshizawa Ayame I
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96:February 2024
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180:15 July 1729
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38:Please help
33:verification
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707:Tachibanaya
687:1729 deaths
682:1673 births
407:Yamamura-za
403:Nakamura-za
297:Tachibanaya
671:Categories
643:Dunn, p53.
598:References
477:onnagata's
389:, another
176:1729-07-15
66:newspapers
504:onnagata.
497:Samurai's
493:Samurai's
446:tachiyaku
415:tachiyaku
399:Morita-za
278:tachiyaku
253:Ayamegusa
226:Ayamegusa
206:Yoshizawa
585:See also
578:onnagata
559:onnagata
555:onnagata
533:onnagata
526:onnagata
519:onnagata
456:Training
450:onnagata
434:hyōbanki
411:Kamigata
391:onnagata
383:onnagata
372:shamisen
257:onnagata
249:onnagata
222:onnagata
217:onnagata
307:Lineage
208:Ayame I
80:scholar
576:If an
350:, and
323:, and
288:haimyō
212:Kabuki
124:初代吉沢菖蒲
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499:wife.
479:name.
364:Kyoto
293:kamei
283:kaena
267:Names
188:Japan
184:Osaka
163:Japan
159:Kyoto
140:book
87:JSTOR
73:books
401:and
331:and
236:").
170:Died
155:1673
152:Born
59:news
531:An
524:An
517:An
379:Noh
273:Edo
42:by
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