Pathway to Japanese Literature

In the hope that it may serve as a reference for those studying Meiji-era theater, I have compiled the theater chronology presented here.
Of course, it is not a complete work, but I have compiled it with the modest intention that knowing this much may prove useful.
However, that this chronology remains confined to Tokyo and does not extend to the Kansai region stems from the compiler’s insufficient familiarity with Kansai theater affairs.

The early years of Meiji marked a transitional period when [the capital] shifted from Edo to Tokyo—a time replete with matters warranting inclusion—yet here we confine ourselves to recording their general outline.
This was done to avoid excessive detail.

(Okamoto Kidō)

Meiji 1 (Boshin), 1868

Due to the unstable state of the nation, the three theaters of Saruwaka-chō suspended their New Year performances, and it was not until February that they finally opened their doors.

May 15: During performances at Ichimura-za and Morita-za, the battle of the Ueno Shōgitai took place.
The city remained unsettled thereafter; the theater world reached a state of extreme stagnation.

In August, Ichimura Udanji changed his name to become Onoe Kikugorō V.
He was twenty-five years old at the time.

On the night of September 23rd, Kawarazaki Gonnosuke was slain by ronin bandits at his residence in Imado.
His adopted son Gonjūrō was fortunate to escape.

Meiji 2 (Kinoe-Mi), 1869

In March, Kawarazaki Gonjūrō succeeded his adoptive father to become Kawarazaki Gonnosuke VII and performed the role of Benkei in *Kanjinchō* at Ichimura-za.

In August, *Momoyama Dan* (Tales of Momoyama) premiered at Ichimura-za.
Gonnosuke’s Earthquake Kato received great acclaim.

Theaters continued languishing in stagnation, with each troupe struggling with management.

Meiji 3 (Kanoe-Uma), 1870

In March, at Morita-za Theater, Ichikawa Sadanji’s premiere of *Marubashi Chūya* received great acclaim.

In April, Sawamura Tanosuke III had his remaining leg amputated again due to gangrene.

In June, the admission fees for Ichimura-za Theater’s June performance were: box seats at eighty-five monme, high floor seating at eighty monme, and regular floor seating at seventy-five monme.

For reference, the admission fees of Ichimura-za Theater have been listed; others should be understood to be largely similar.
This indicates the price per box seat or floor section (ma), with one ma at that time accommodating seven people.
In the Edo period, box seats at thirty-five monme and floor seating at twenty-five monme were standard; compared to this, prices after the Meiji era saw a significant increase. As one monme equals one sen six rin five mo, regular floor seating at seventy-five monme amounts to one yen twenty-three sen seven rin five mo. When dividing this among seven people, one portion came to approximately seventeen sen six rin.

December 18: Sandanjūrō III died at 66 years old.

Meiji 4 (Kanoto-Hitsuji), 1871

In January, Nakamura Kanjaku arrived in Tokyo from Osaka; his performance as Miuraya no Suke in the formal debut play at Morita-za Theater received favorable reviews.

In July, during a performance of *The Revenge at Kameyama* at Morita-za Theater, Arashi Rikaku, who played Ishii Hyōsuke, was arrested and later sentenced to three years of penal servitude.
Kobayashi Kinpei’s concubine Okinu committed adultery with Rikaku, which ultimately led to her poisoning Kinpei; as a result, Okinu received the death penalty, and Rikaku was charged with complicity.

October 22: Ichikawa Danzō VI died in Osaka at seventy-two years of age.
He was formerly known as Kuzō and played Togashi Saemon during the premiere of *Kanjinchō* at Kawarazaki-za Theater in Tenpō 11 (1840).

In October, Frenchman Surie staged a circus performance at Kudan Shōkonsha.

Meiji 5 (Mizunoe-Saru), 1872

In February, Morita Kanya, owner of Morita-za Theater, applied to relocate from Saruwaka-chō to 6-chōme, Shintomi-chō, Kyōbashi Ward; permission was granted by April.

From the Tenpō era (1830–1844) onward until the early years of Meiji, the three theaters were all confined to Saruwaka-chō in Asakusa: Nakamura-za in 1-chōme, Ichimura-za in 2-chōme, and Morita-za in 3-chōme.
When Edo was renamed Tokyo, recognizing that having theaters in a remote location like Asakusa was disadvantageous, it was Morita Kanya’s foresight that conceived the plan to venture forth to Kyōbashi at the city’s center.

In February, Iwai Shijaku II changed his name to Hanishirō VIII.

In May, Nakamura-za Theater staged *The Sound and Whip Equestrian Show* as part of its grand *jōruri* performances—an adaptation of Western equestrian acts that had recently arrived in Japan—with Kikugorō receiving acclaim for his portrayal of the Italian Giovanni.

On August 27th, the owners of all theaters were summoned to Tokyo Prefecture and instructed that during performances, regardless of the number of spectators, they must daily remit a tax payment equivalent to one percent of the number of box seats and floor sections as the standard.
This marked the beginning of the admission tax imposed on theaters.

Shintomi-chō Morita-za Theater completed its new construction and opened on October 3rd.
The program consisted of the first piece *Sangoku Musō Hyōgunsen* and the second piece *Zangiri O-Tomi*, featuring performances by Gonnosuke, Sadanji, Nakazō, Hanishirō, Kanjaku, and others.
The theater incorporated various improvements to its existing structure and was acclaimed as the most progressive theater of its time.

Meiji 6 (Mizunoto-Tori), 1873

In March, during the first act of *Sakai's Drum* at Murayama-za Theater, Gonnosuke as Sakai Saemon no Jō and Kikugorō as Naruse Tōzō exchanged their crossing dialogue with the line: "In this civilized age of enlightenment, ignorance is folly." The audience applauded heartily without taking issue with this anachronism.
This shows just how thoroughly the phrase "civilization and enlightenment" had permeated public discourse.

In June, Nakamura-za Theater premiered its second piece, *Tsuyu Kosode Mukashi Hachijō* (The Rainy Season Kimono of Old Hachijō).
Kikugorō’s portrayal of Kamiyui Shinzō and Nakazō’s performances as Nagabei and Yatagorō Gengorō all received critical acclaim.

In September, Kawarazaki Gonnosuke changed his name to Ichikawa Mitsuzō.

In November, *Tokyo Nichinichi Shinbun* was staged at Morita-za Theater.
This marked the pioneering instance of adapting newspaper material for the stage.

As per the Tokyo Prefectural Ordinance designating ten theater locations within the city, in addition to the existing three theaters—Sawamura-za in Nakabashi, Kyōbashi Ward; Kishō-za in Hisamatsu-chō, Nihonbashi Ward; Nakajima-za in Kakiokuri-chō of the same ward; Tō-za in Yotsuya; and Okuda-za in Haruki-chō, Hongō Ward—were newly constructed and opened in succession.

Meiji 7 (Kinoe-Inu), 1874

In January, Nakamura-za Theater’s playbill noted: "Performances commence at 7:00 AM and continue until 5:00 PM."
Until then, theaters had operated without fixed opening hours, adhering merely to longstanding custom through the phrase "commencing early in the morning"; Nakamura-za became the first to explicitly document both opening and closing times on its playbills.

In May, Sawamura-za Theater’s playbill listed the following prices: box seats upper class at 1 yen 85 sen, middle class at 1 yen 40 sen; high floor seating upper class at 1 yen 70 sen, middle class at 1 yen 30 sen; regular floor seating upper class at 1 yen 50 sen, middle class at 1 yen 10 sen.
Theater admission fees had long followed established custom, being quoted in silver monme until this point, but this theater became the first to revise them to yen and sen denominations, with others gradually following suit thereafter.

In July, Kawarazaki-za Theater was newly constructed and opened in Shiba Shinbori.
Ichikawa Mitsuzō succeeded to the name of Ichikawa Danjūrō IX and became the theater owner.
He was thirty-six years old at the time.

In September, Arashi Rikaku, having completed his prison term, became a disciple of Danjūrō and assumed the name Ichikawa Gonjūrō to begin working at Kawarazaki-za Theater.

Meiji 8 (Kinoto-I), 1875

In January, Morita-za Theater was renamed Shintomi-za Theater.
This resulted from massive accumulated debts.
Nevertheless, in the January production of *Ōoka Seidan*, Hikosaburō as Echizen no Kami, Kikugorō as Ten'ichibō, and Sadanji as Iga no Sukesuke each garnered acclaim.

In January, by order of the Tokyo Prefectural Ordinance, actors were required to pay taxes as follows: first-class at 5 yen, second-class at 2 yen 50 sen, third-class at 1 yen; theater-affiliated teahouses were to pay 1 yen.
All were monthly taxes.

June 14th: Onoe Kikujirō II died in Osaka at sixty-two years of age.
He was a female impersonator who flourished in the late Edo period and was known throughout the world as the wife-role actor of the master Kodanji.

Meiji 9 (Hinoe-Ne), 1876

In March, Nakamura-za Theater premiered a new play titled *Nishiki no Yamato* in its second slot.
Nakazō’s muleteer Ushizō’s comic scene featuring his country dialect and stammering speech was met with great acclaim.

In March, the Kataoka brothers, Gadō and Gatō, arrived in Tokyo from Osaka and began performing in Nakamura-za Theater’s March production.

In May, Nakamura-za Theater staged *Shigemori's Admonition*. Though Danjūrō's portrayal of Shigemori drew both praise and criticism, the so-called "katsureki" style—a new form of historical drama—began gradually taking root around this time.

In May, as Ichikawa Meitora was commuting to rehearsals at Haruki-za Theater in Hongō, she suddenly felt dizzy upon reaching the Yushima Kiridoshi slope. Alighting from her rickshaw, she stumbled into a Western notions shop by the roadside—where the shop staff reportedly mistook her for the landlord’s wife.
One can infer the customs of female impersonators during this period.

On November 29th, a fire originating from Sukiyachō in Nihonbashi Ward spread to destroy both Nakabashi-za Theater and Shintomi-za Theater.

On December 31st, a blaze breaking out in 8-chōme Umamichi of Asakusa Ward consumed both Nakamura-za Theater and Murayama-za Theater in its flames.

Meiji 10 (Fire Ox), 1877

In April, Shintomi-za Theater, having completed its provisional repairs, opened.
In the troupe of actors Kikugorō, Sadanji, Nakazō, Hanishirō, and Shikan, Nakamura Sōjūrō also arrived from Osaka to join.

August 7th: Sakurada Jisuke III died at seventy-six years of age.
Although he did not thrive much after the Meiji era, he was one of the renowned playwrights of the late Edo period and a predecessor to Mokuami and others.
*“Kijin O-Matsu”* and *“Suzuki Mondon”*
*“Osono Rokuzō”* and *“Ake Garasu”*, among others, were known as his hits.
*Jōruri* too boasts no small number of celebrated works.

October 13th: Bandō Hikosaburō V passed away in Osaka at forty-six years of age.
He was one of the renowned actors spanning the late Edo period to the early Meiji era; even Danjūrō and Kikugorō were temporarily overshadowed by him.

In December, *The Chronicle of Mito Komon: Lectures for the Young* was premiered at Shintomi-za Theater.
Danjūrō’s Mito Kōmon, Kikugorō’s Kappa no Kichisaburō, and Nakazō’s Blind Genkaku—all were well-received.

Meiji 11 (Tsuchinoe-Tora), 1878

On February 23rd, Shintomi-za Theater began staging *Seinan Kumo Hare no Asakaze* (Southwestern Clouds Clear with the Morning East Wind), a full-length play dramatizing the Southwestern War.
They continued for over eighty days straight, being hailed as an unprecedented box-office success in theater history.
This marked a record-setting long-term theater run of the Meiji era.

May 12th: Ichikawa Monnosuke V dies at fifty-eight years of age.
He was a renowned female impersonator since the Edo period.

In June, the main building of Shintomi-za Theater was completed.
On the 7th and 8th [of that month], they held a grand opening ceremony and invited over a thousand dignitaries and gentlemen.
The inaugural play was *Matsue Chiyoda Shintoku*, featuring Danjūrō, Kikugorō, Sadanji, Nakazō, Hanishirō, and others.
Thus began what would come to be known as the Shintomi-za era.

From this production onward, Shintomi-za Theater illuminated gas lights for the first time, much to the astonishment of the audience.

July 7th: Sawamura Tanosuke III died at thirty-four years of age.
Alongside Nakamura Shikan, he had been a female impersonator who garnered immense popularity across the capital from the late Edo period through the early Meiji era—a fact widely known in theater circles that he stood on stage even after having both legs amputated due to gangrene, followed by the loss of both hands.

In August, due to the intense heat, Shintomi-za Theater began opening at 5:00 PM for what they called "night performances."
This marked the first instance of nighttime openings in our theatrical world.

Meiji 12 (Tsuchinoto-U), 1879

On February 3rd, Kabuki Shinpō issued its first number. The editor was Kubota Hikosaku, with Kanagaki Robun serving as his assistant. As the theater world's sole specialized magazine, it was welcomed among theater enthusiasts. Prior to this, there had been something called Gekijō Shinpō, but as it was edited by outsiders and could not be adequately managed, it ceased publication before long—leading to Kabuki Shinpō's subsequent emergence.

In March at Shintomi-za Theater's first slot: Akamatsu Mitsusuke. Middle Act: Kanjinchō (The Subscription List). In the second slot, Lytton's adaptation Money Rules the World continued its run for over sixty days to full houses, with foreign residents in Keihin presenting a drop curtain and attending a complete performance.

On May 8th, Ichikawa Meitora I died at twenty-eight years of age.
A female impersonator who excelled in both appearance and skill, she had been praised as having a promising future.

On July 16th, through the initiative of concerned citizens of Tokyo Prefecture, former U.S. President Mr. Grant—then visiting Japan—was invited to Shintomi-za Theater where they performed the new historical drama *The Later Three Years' Ōshū War Chronicle* alongside geisha hand dances.

Kishō-za Theater in Hisamatsu-chō completed its reconstruction and was renamed Hisamatsu-za Theater as a grand kabuki venue, holding its opening ceremony across three days from August 6th to 8th.

At the opening performance of Hisamatsu-za Theater, Onoe Tamizo from Osaka came to Tokyo to appear.
At eighty-three years of age, he performed Ishikawa Goemon’s aerial stunts, astonishing the Tokyo audience.

In September, the new work *The Strange Tale of a Castaway: A Western Drama* was staged at Shintomi-za Theater.
As a play-within-a-play, they introduced a troupe of foreign male and female actors, but it ended in extreme unpopularity and caused enormous losses.
Morita Kanya’s setbacks are said to have begun with this.

Meiji 13 (Kanoe-Tatsu), 1880

In January, Shintomi-za Theater invited various newspaper reporters and requested theater reviews.
This marked the first instance of theaters inviting newspaper reporters.

On February 3rd, a fire broke out in Tachibana-chō, Nihonbashi-ku, destroying Hisamatsu-za Theater through spreading flames just six months after its reconstruction.

In March, second-generation playwright Kawatake Shinshichi II erected a stone monument for the first Shinshichi at Umeyashiki in Mukōjima, naming it Ninkō-zuka (Calamus Mound).

In November, *Koma Boshi Hakone Shika-bue* premiered in the second slot at Shintomi-za Theater.
This ghost story about mental illness earned acclaim for Kikugorō’s portrayal of courtesan Osayo.

Meiji 14 (Kanoto-Mi), 1881

February 3rd: Nakamura Kanjaku III died in Osaka at forty-one years of age. Though an Osaka-based actor, he had been well-received even in Tokyo. He was the father of Nakamura Ganjiro I.

In April, Heavenly Robes Scattered: First Blossoms of Ueno was staged at Shintomi-za Theater—a revised version of Kawatake Shinshichi’s earlier work featuring Danjūrō as Kōchiyama, Kikugorō as Naosaburō, Sadanji as Kaneko Ichinoshō, Hanishirō as Sanzō, and Umejirō as Anma Jōga, all of whom were acclaimed for their unparalleled performances.

June 28th: Segawa Jōko III died at seventy-six years of age. A celebrated playwright who had rivaled Mokuami in the late Edo period, his representative works included Sakura Sōgo (The Tale of Sakura Sōgo), Kirare Yosaburō (The Scarred Yosaburō), and Uwabami Oyū.

In June at Shintomi-za Theater, Onoe Umejirō was promoted to nadai and renamed himself the fourth Onoe Matsusuke.

On August 25th regarding the Hokkaido government property disposal issue, Fukuchi Gen'ichirō, Numata Morikazu and others held a political speech meeting at Shintomi-za Theater.
This marked the first instance of using a theater as a speech venue.

In December, Shintomi-za Theater premiered *Shima Chidori Tsuki Shirahama* (Plovers of the Island: Moonlit White Waves) in its second slot. This marked Kawatake Shinshichi II's final work before retirement, with Kikugorō's portrayal of Akashi Shimazō and Sadanji's Matsushima Senta both receiving high praise. Shinshichi transferred his third-generation title to disciple Takeshiba Kinsaku and changed his own name to Kōka Mokuami. He was sixty-six years old at the time.

That same December, Ryūtei Enshi, Shunpūtei Ryūshi, Katsura Bunji and others organized a rakugo storytellers' performance at Haruki-za Theater. Owing to its unexpectedly successful reception, such events came to be held frequently thereafter.

Meiji 15 (Mizunoe-Uma/Water Horse), 1882

On the evening of January 23rd, during a performance at Saruwaka-za Theater, a fire broke out and completely destroyed it. Fortunately, there were few injured persons.

February 19th: Iwai Hanshirō VIII dies at fifty-four years of age. From his youth as Kumazaburō, he had been a female impersonator renowned for his beauty.

In June, Ichikawa Udanji from Osaka came to Tokyo and performed the role of Mochizuki in the middle act at Saruwaka-za Theater.
The first was *Kawanakajima*, the second was *The Daimaruya Disturbance*.
Danjūrō, Kikugorō, and Sadanji were naturally included, along with Udanji, Shikan, Takasuke, Fukusuke, Hidetada, Ebizō, Kodanji, and Matsusuke—joined by Osaka-based Rikan and Udanji—forming a grand troupe that came to be called the Actors' Exhibition.

In November at Saruwaka-za Theater, Sawamura Seijūrō was promoted to nadai and renamed himself the fourth Sawamura Gennosuke.

Meiji 16 (Mizunoto-Hitsuji/Water Sheep), 1883

In April, *Sugawara Jikki* was performed at Haruki-za Theater. Udanji's Sugawara no Michizane used magnesium to create lightning effects during the prayer scene at Tenpai Mountain, which greatly won the audience's applause.

In May, *Shin Sarayashiki* (The New Dish Mansion) was premiered at Ichimura-za Theater. Kikugorō's portrayal of Uoya Sōgorō's drunken rage received great acclaim.

In October, *Imoseyama (The Twin Peaks)* was staged at Shintomi-za Theater. Danjūrō's Omiwa garnered acclaim.

Meiji 17 (Kinoe-Saru), 1884

In April, *Nidai Genji Homare Migawari* (The Disguised Glory of Two Generations of Genji) was premiered in the first slot at Shintomi-za Theater.
Danjūrō’s Nakamitsu was praised as having reached the pinnacle of katsureki fever.

In November, Saruwaka-za Theater left Saruwaka-chō, relocated to Nishitorigoe-chō in Asakusa, and upon completing its new construction, held an opening ceremony on both the 16th and 17th.
For the opening play of the stage, Danjūrō premiered Hōjō Takatoki’s Tengu Dance.
It was well-received.

Around this time, voices advocating for theater reform gradually grew louder, and arguments dismissing existing plays as absurdly fantastical or vulgarly crude were frequently repeated.
Moreover, there were scarcely any notable arguments worth listening to.

Meiji 18 (Kinoto-Tori), 1885

Hisamatsu-za Theater completed its reconstruction and was renamed Chitose-za Theater, holding an opening ceremony from January 4th to 7th.
The first was Sadanji's *Goban Chūshin* (The Go Board Loyalist), and the second was Kikugorō's *Fudeuri Kōbei* (The Brush Seller Kōbei)—both were well-received at their premieres.

January 23rd: A fire broke out at Saruwaka-za Theater, resulting in its complete destruction.
The theater was in the midst of only its second performance run since reconstruction.

In May, low-cost plays by Osaka actors were staged at Haruki-za Theater, commonly referred to as Tori-Kuma plays.
Continuing to draw full houses every month, there appeared a sense that even the other grand kabuki were temporarily overwhelmed.

September 18th: The first Jitsukawa Enjaku died in Osaka at fifty-five years of age.
In Osaka, he was regarded as the foremost wagoto actor.

In October, they built a hut on the site of the burned-down Saruwaka-za Theater and staged a puppet theater performance by Osaka Bunraku-za.
The puppeteers were Kiridōri Monshūrō and Yoshida Tamazō.
The tayū were Koshiji Tayū, Sumi Tayū, Tsu Tayū, and others; however, not suiting Tokyo's tastes, they withdrew early.

In November, *Yon-senryō Koban Umeha* (Four Thousand Ryō in Koban: Plum and Leaf) was premiered at Chitose-za Theater.
Kuzō’s Fujioka Fujijūrō and Kikugorō’s Noshū no Tomizō were both well-received.
The Denmachō prison scene in the grand finale was fresh and novel, and became the talk of the town.

Meiji 19 (Hinoe-Inu/Fire Dog), 1886

February 2nd: Suketakaya Takasuke IV dies in Nagoya at forty-nine years of age.
In Tokyo, he was regarded as the foremost wagoto actor.

March 2nd: Onoe Tamizo II died in Osaka.
At the advanced age of eighty-eight, he had been revered as a pillar of the Osaka theater world.

In May, *The Dream Tale of Lu Sheng’s Portrait* premiered at Shintomi-za Theater.
Danjūrō’s Watanabe Kazan and Sadanji’s Takano Chōei were both met with tremendous acclaim, continuing its run for forty-five days.

In August, the Theatre Reform Society was established.
The founders and members encompassed prominent politicians, businessmen, and scholars from both public and private spheres, and their declaration was grand in tone; however, it ended without producing any notable achievements.

In August, a cholera epidemic raged in Tokyo, with hundreds of new patients daily; all theatrical performances were ordered to cease.

In October, theater performance times were regulated to eight hours by Metropolitan Police Department ordinance.

October 26th: Kawatake Nōshin died in Osaka at sixty-two years of age.
He was a distinguished disciple of Mokuami and a renowned kyōgen playwright in Osaka.

November 12th: Ichikawa Ebizō VIII dies at forty-two years of age.
He was Danjūrō’s biological younger brother.

In December, Kikugorō performed Chiarini’s equestrian acts at Chitose-za Theater to acclaim.

December 10th: Nakamura Nakazo III died at seventy-eight years of age. Called a modern master, he had numerous signature roles throughout his career—notably Kōmori Yasushi in *Genji Shop*, Hayanori Sanji in *Murai Chōan*, and Nagabee in *Kamiyui Shinsaburō*—which have remained topics of conversation among theater enthusiasts to this day. He possessed literary talent and authored works such as *Temae Miso* (*My Own Braggadocio*) and *Zekkuchō* (*Book of Stilled Verses*).

Meiji 20 (Hinoe-Inoshishi), 1887

In March, Nakamura Fukusuke’s popularity reached its peak, and he worked concurrently at three theaters: Shintomi-za, Ichimura-za, and Chitose-za.

From April 26th for four days, there was an imperial viewing of theatrical performances at Foreign Minister Inoue's residence in Azabu Torizaka. Nearly all principal actors in the capital appeared, and this was proclaimed an unprecedented honor for our theater world. The first day featured His Majesty the Emperor's imperial viewing; the second day Her Majesty the Empress's royal viewing; the third day invitations extended to foreign envoys and others; and the fourth day Her Majesty the Empress Dowager's royal viewing.

July 21st: Kawarazaki Kunitarō III dies at thirty-eight years of age.
He was a female impersonator praised as a promising actor of wife roles.

December: The Copyright Regulations were revised.
Such items as scripts and scores were granted copyright upon application, and authors' rights came to be fully protected for the first time.

Meiji 21 (Tsuchinoe-Ne), 1888

In January, the new construction of Ichimura-za Theater in Saruwaka-chō was completed, and an opening ceremony was held from the 8th for three days.
Danjūrō, Shikan, Fukusuke, Gadō, Gonjūrō, Matsunosuke, and others were in attendance.

In April, *Twenty-Four Examples of Filial Piety in Our Country* was staged at Ichimura-za Theater.
Danjūrō’s Yaegaki-hime became the main attraction.

In May, *Tsuki Ume Kaoru Oboroyo* (Moon, Plum, and Fragrant Hazy Night) was premiered at Nakamura-za Theater.
Kikugorō's *Hanaoi Oume's Box Maker Murder* was well-received.

In May, *Kago Tsurube* was premiered at Chitose-za Theater.
Sadanji's Sanō Jirōzaemon was extremely well-received.

In July, the Performing Arts Rectification Society was established.
It was a further reorganization of the earlier Theatre Reform Society, but this too failed to gain momentum.

July 15th: Mount Bandai erupted.
Capitalizing on this event, Nakamura-za Theater staged *Sound and Sight: Asama Magic Lantern Show* during its October run, with Danjūrō, Kikugorō, Hidetoshi, Matsunosuke, and Udanji in attendance.
The eruption of Mount Asama became the talk of the town.

In December, Sumoto Sada’s faction initiated political dramas in Osaka and commenced performances at Shinmachi-za Theater from the 3rd.
This marked the founding of shinpa (new school) theater.

Meiji 22 (Tsuchinoto-Ushi), 1889

In February, actor ranks were established with chief and deputy heads appointed.
The chief head was Danjūrō, while Kikugorō and Sadanji became deputy heads.

October 8th: Nakamura Sōjūrō died in Osaka at fifty-five years of age.
He was counted among the foremost actors, his name being widely recognized even by Tokyo audiences.

In November, *The Blood-Stained Ivy-Patterned Imperial Edict* premiered at Ichimura-za Theater.
Sadanji’s Ōkawa Tomoemon was well-received, and the blazing large props astonished the audience.

Kabuki-za’s new building was completed and opened on November 21st.
The program featured *Kōmon-ki* and *Six Poetic Immortals*, with Danjūrō, Kikugorō, Sadanji, Hidetoshi, Gen’nosuke, Udanji, and others in attendance.
Admission fees were as follows: box seats at 4 yen 70 sen per compartment, high floor seating at 3 yen 50 sen, and regular floor seating at 2 yen 80 sen.

Meiji 23 (Kanoe-Tora), 1890

In January, Ichikawa Danjūrō stormed into Gionkan in Kyoto’s Hanamikoji and commenced performances in collaboration with Osaka’s Ganjiro, Fukusuke, and others.

February 9th: Hasegawa Kanbee XIII dies.
A master of grand stage props active from the late Edo period through the Meiji era, many novel theatrical mechanisms owed their creation to his ingenuity.

In March, *The Me Brigade Brawl* premiered in the second program at Kiri-za Theater.
Kikugorō's portrayal of Tatsugorō from the Me Brigade met with acclaim.

In March, *Sōma Heiji Nidaitan* (The Tale of Two Generations of the Sōma Heiji) premiered at Kabuki-za Theater.
Ichikawa Shinzō's Bijomaru was well-received.

On May 6th, a fire broke out at Chitose-za Theater, resulting in its complete destruction.

In May, Nakamura Ganjiro came to Tokyo from Osaka for the first time and appeared at both Kabuki-za and Shintomi-za.
Both were poorly received.

June 23rd: A fire broke out in Haruki-chō, Hongō, and Haruki-za Theater was also destroyed in the blaze.

Due to the recession causing many to face hardships, Sanshō-kai—organized by actors of the Ichikawa faction—held a charity performance at Shintomi-za Theater on July 7th and 8th for two days and donated the net proceeds to the Tokyo Prefectural Government.
Following this, Shintomi-za Theater itself took the initiative and held a charity performance over two days on the 10th and 11th.
This became a precedent, and thereafter various charity performances were frequently held.

August: The Theater Control Regulations were revised.
Theaters were classified into two types: large and small, with large theaters restricted to ten locations and small theaters to twelve.
At the same time, the actor tax was also revised; actors attached to large theaters were divided into first class at 3 yen, second class at 2 yen, and third class into three categories: 1 yen, 50 sen, and 10 sen.
Actors attached to small theaters were first class at 1 yen, second class at 50 sen, and third class at 10 sen.

In November, Modoribashi (The Returning Bridge) premiered in the middle act at Kabuki-za Theater.
Kikugorō's Demon Woman and Sadanji's Tsuna were both well-received.

Meiji 24 (Kanoto-U), 1891

In June, *Kasuga no Tsubone* (Lady Kasuga), written by Fukuchi Ōchi Koji, premiered at Kabuki-za Theater.
Danjūrō’s *Kasuga no Tsubone* was well-received.

In June, Kawakami Otojirō and Fujisawa Asajirō’s student theater troupe stormed into Nakamura-za Theater and unexpectedly secured a full house—marking Tokyo’s first student theater initiative.
Subsequently, various student troupes arose in succession.

In November, a new production of *The Korean Volume of the Taikō Military Chronicles* was staged at Kabuki-za Theater.
The Act IV scene depicting the Korean Queen and Prince’s capture drew protests from the Korean Minister mid-run; this act was consequently excised and replaced with *Yoshitsune's Koshigoe Letter*.

In November, I Yōhō, Mizuno Yoshimi, and others formed the Seibidan troupe and commenced performances at Azuma-za Theater in Asakusa Park.
Chitose Beiha also appeared as an actress.

In December, Haruki-za Theater’s new construction was completed and opened from the 4th.
Yaozō, Ennosuke, Kankurō, Shibatsuru, and others attended.

Meiji 25 (Mizunoe-Tatsu), 1892

In January, San'yūtei Enchō's *Shiobara Tasuke Ichidaiki* (The Life Story of Tasuke Shiobara) was adapted and performed at Kabuki-za Theater.
Kikugorō’s portrayal of Tasuke and the farewell scene with the horse were met with great acclaim.
Thereafter, adaptations of Enchō’s and others’ human-interest stories or kōdan-style narratives were frequently staged.

In January, Nakamura Jakuemon and Shibajaku, father and son, came up to Tokyo from Osaka and appeared at Haruki-za Theater.

In February, Sadanji’s troupe stormed into Osaka’s Naniwa-za Theater.

In March, Kikugorō’s troupe stormed into Osaka’s Kadoma-za Theater.

In April, the new construction of Sawamura-za Theater was completed in Asakusa Saruya-chō, and Sawamura Tossho, Sawamura Tanosuke, and others attended.

In July, Yamaguchi Sadao's student theater troupe made its debut at Ichimura-za Theater and achieved considerable success.

In July, Enchō’s *Botan Dōrō* (The Peony Lantern) was adapted and performed at Kabuki-za Theater.
It was met with acclaim no less than that of January’s *Shiobara Tasuke*.

In September, for the purpose of training young actors, actors of the Ichikawa school performed at Akasaka’s Kogiku-za Theater.

There were many objections that actors attached to large theaters working at small theaters violated union regulations, and the attacks from various newspapers were equally fierce.
Because of this, Danjūrō ultimately resigned as head.

In November, the new construction of Ichimura-za Theater was completed and opened from the 10th.
The theater that had steadfastly remained in its original Saruwaka-chō location until the end finally relocated to Shitaya Niten-chō.
For the opening performance, Sadanji, Kodanji, Yonezō, Udanji, Gonjūrō, Hidetada, and others appeared.
The second piece, *Matsuda's Revenge*, was well-received.

Meiji 26 (Mizunoto-Mi), 1893

In January, Ichimura Udanji came to Tokyo and appeared at Haruki-za Theater.

On the night of January 2nd, Haruki-za Theater's troupe members boarded several red carriages, stormed into the Yamato Newspaper Company in Ginza Owari-chō, and physically assaulted its employees.
This occurred due to their fury over the same newspaper publishing a damaging article regarding Udanji's appearance.

January 22nd: A fire broke out in Asakusa Nishitorigoe-chō, and Torigoe-za Theater was also destroyed in the blaze.
The same theater was ultimately never rebuilt.
The turret of Nakamura-za Theater—foremost among Edo’s three great theaters—also perished there.

On the same day, Kawatake Mokuami died at age seventy-eight.
He was acclaimed as a master kyōgen playwright second only to Namiki Sōsuke.
Since his biography is already too well-known, I will not mention it here.

March 18th: Bando Udanji died at age forty-eight.
He was Kikugorō’s biological younger brother who excelled in wagoto (soft-style acting), but in his later years adopted a Danjūrō-like bravado style to great acclaim, and his death was mourned both within and beyond the green rooms.

March 28th: A fire broke out in Kanda Izumi-chō, and Ichimura-za Theater was also destroyed in the blaze.

In May, the Jiji Shinpō Newspaper Company conducted a vote to recruit promising young actors.
As this vote was the first of its kind, each fan group campaigned frantically, and the tabulation results saw three actors elected: Ichikawa Yonezō, Ichikawa Ennosuke, and Onoe Kikunosuke.

In October, Tokyo puppet theater was staged at Shinseikan in Kanda Nishiki-chō.
Yoshida Kunigorō and Nishikawa Isaburō, along with all puppeteers in the capital, performed.
The tayū narrators, including Ayase Tayū and Harima Tayū, enjoyed moderate popularity.
For the next four or five years thereafter, performances were held almost every month.

On November 1st, the newly constructed Meiji-za Theater in Nihonbashi Kuramatsu-chō was completed, its inaugural performance was held, and Sadanji, Gonjūrō, Kodanji, Yonezō, Fukusuke, Danjūrō, and others attended.

Meiji 27 (Kinoe-Uma), 1894

In February, *Chūshingura* (The Treasury of Loyal Retainers) was performed at Shintomi-za Theater.
Kuzō's three roles—Kō no Moronao, Yuranosuke, and Kanpei—were met with acclaim.

On May 31st, Fourth Generation Arashi Rikan died in Osaka at age fifty-eight.
In Osaka, he had been a dominant female impersonator.

In July, the reconstruction of Ichimura-za Theater was completed and it opened from the 14th.
Kikugorō, Shikan, Ennosuke, and others attended.

The First Sino-Japanese War broke out.
At Kabuki-za Theater, military consolation plays were staged for three days from July 28th to 30th, and Mademoiselle Taylor—a French actress visiting Japan—also appeared alongside Danjūrō’s troupe.

From August 31st at Asakusa-za Theater, Kawakami Otojirō’s troupe adapted and performed *The Sino-Japanese War*, achieving a success rarely seen in recent years. Following this example, Sino-Japanese War plays were successively staged at various theaters.

In October, at Meiji-za Theater, a Sino-Japanese War play titled *Aizu [𪤕] Meiji Kumigashira* was performed.

In November, at Kabuki-za Theater, the Sino-Japanese War play *Kaerikuren Seichō Nisshōki* (Land and Sea Victories: The Rising Sun Flag) was performed.
Kikugorō’s portrayal of Harada Jūkichi breaching the Genbu Gate was poorly received.

Meiji 28 (Kinoto-Hitsuji), 1895

In January, Onoe Kikugorō’s portrayal of Miura no Suke in the interlude act *The Chronicles of the Three Kamakura Eras* at Shintomi-za Theater was well-received.

In February, Kawakami Otojirō’s troupe performed *Meiji 42* at Ichimura-za Theater.
Advocating for co-ed theater, actresses Ichikawa Kuniyo and Ichikawa Katsura also attended.

April 15th: The Tenth Generation Kataoka Nizaemon died in Osaka at age forty-five.

In May, Kawakami Otojirō’s troupe appeared at Kabuki-za Theater and performed “The Fall of Weihaiwei.” Though student theater had seized kabuki’s stronghold, theater enthusiasts watched with astonished eyes as its foundation gradually solidified there. Kawakami’s popularity was flourishing.

July 20th: Second Generation Nakamura Shikan died in Osaka at age fifty-five.

October 29th: Nakamura Kanzaburō XIII, proprietor of the previously defunct Nakamura-za Theater, died at age sixty-eight.

In November, Enchō’s *Master Craftsman Chōji* was adapted and staged at Shintomi-za Theater.
Kikugorō’s Chōji was well-received.

In November, at Kabuki-za Theater, Danjūrō performed "Shibaraku" from the Kabuki Jūhachiban (Eighteen Great Plays), achieving sold-out crowds day after day.

Meiji 29 (Hinoe-Saru), 1896

In March, at Meiji-za Theater’s *Horikawa*, Kikugorō’s Yojirō attempted to use a live monkey on stage but failed.

In April, at Kabuki-za Theater, Danjūrō performed his signature play *Sukeroku*, receiving acclaim that was no less than that of the previous year’s *Shibaraku*.

In June, during a performance of *Bungaku Kanjinchō* at Meiji-za Theater, Danjūrō—who was playing Mongaku—was injured on stage, and the production was halted midway.

In July, Kawakami-za Theater—founded by Kawakami Otojirō in Kanda Misakichō—was newly constructed and completed, opening from the 2nd.

August 31st: Nakamura Jusaburō died at age sixty-three.
He was the older brother of the first generation Sadanji.

From September 9th for three days, a charity performance for the Tokyo Orphanage was held at Kabuki-za Theater, with noblewomen and young ladies operating concession stalls.
This became a trend, and for over ten years thereafter, such charity performances were frequently held.

In October, Sawamura Gennosuke returned to Tokyo from Osaka after five years and performed the role of Shiraito in the second act "Suzuki Mondo" at Ichimura-za Theater, delighting theater enthusiasts.

Kabuki-za Theater became a stock company, held its opening ceremony as a new corporation on November 11th and 12th, and Danjūrō performed Kagekiyo and Sodehagi.

Around this time, individuals emerged who claimed to have obtained copyrights for traditional jōruri kyōgen plays, establishing offices in Osaka and Tokyo to lodge complaints with each theater performance. Moreover, regarding those staging performances based on existing jōruri kyōgen texts that had been performed traditionally, their complaints were deemed invalid by the authorities.

Meiji 30 (Hinoto-Tori), 1897

In January, Her Majesty the Empress Dowager passed away.
All theaters closed for fifteen days from the 13th.

In February, *Seki no Tobira* (The Gate of Seki) was performed at Kabuki-za Theater.
Danjūrō’s Sekibei and Kikugorō’s Sumizome were hailed as a peerless pair.
Kikunosuke’s Komachi-hime was also well-received.

In March, Tokyo-za Theater in Kanda Misakichō was newly constructed and opened from the 10th, and Danjūrō’s *Kokusen'ya* was well-received.

In May, *Kyōkaku Harugasagasa* (The Chivalrous Rogue and the Spring Rain Umbrella) premiered at Kabuki-za Theater.
Danjūrō’s Ōguchiya Akisame was met with great acclaim.
From then on, dark snake-eye patterned umbrellas became popular for a time.

In May，a children’s play was performed at Asakusa-za Theater.
Starring Sawamura Kotōji and Nakamura Kichiemon，it achieved an unexpectedly full house.
Since then，various children’s theater troupes emerged one after another，ushering in a flourishing era for children’s theater.

In June, Ichikawa Kuzō changed his name to the Seventh Generation Ichikawa Danzō, attended Meiji-za Theater, and performed the role of Matsunaga Daisan in *Kinkaku-ji* (The Golden Pavilion).

June 28th: Onoe Kikunosuke died at age thirty.
As Kikugorō’s adopted son, he had recently been receiving acclaim at every production.

July 9th: Ichikawa Shinzō died at age thirty-seven.
He was a promising actor colloquially referred to as a candidate for the Tenth Generation Danjūrō, and their deaths were mourned together with Kikunosuke’s.

In July, Kikugorō, Fukusuke, and others performed *Kozaru Shichinosuke* (The Little Monkey Shichinosuke) at Kabuki-za Theater.
Criticism and attacks over its obscenity and cruelty intensified, finally prompting intervention from the Metropolitan Police Department and leading to the suspension of performances midway.

August 21st: Twelfth Generation Morita Kanya died at age fifty-two.
Since the Meiji era, it was a well-known fact that he had devoted himself to advancing theater, staging his own scripts such as *Monju Kujūke* under the name Kogawa Shinsui.
*Tametomo of the Island*
There were his works including *Magic Lantern Shows of the Three Cities and Five Ports*.

In October, *Ōmori Hikoshichi* premiered at Meiji-za Theater.
Danjūrō’s Hikoshichi and Onna Tora’s Chihaya-hime were both well-received.

Meiji 31 (Bogo), 1898

January 3rd: Kyōgen playwright Kubota Hikosaku died at age fifty-three.

In January, Kuroiwa Ruikō’s novel *Suteobune* was adapted and performed at Kabuki-za Theater.
Though this marked the heyday of Ruikō’s detective novels, their theatrical results proved disappointing.

In February, Danjūrō arrived at Osaka’s Umeda Theater, where his salary of fifty thousand yen for two performances stirred controversy for being exorbitant.

On March 23rd, a fire broke out in Honkō District’s Harukichō 1-chōme, consuming Haruki-za Theater in the flames.

In September, Kawakami Otojirō boarded a boat and rowed out under the pretense of planning a South Seas expedition, but as the voyage did not proceed as intended, he landed on the coast of Ise.

Since last year, children’s theater had increasingly prospered.

Meiji 32 (Kanoe-Inoshishi), 1899

January 16th: Fourth Generation Nakamura Shikan died at age seventy.
It is said that during the Edo period, he commanded immense popularity throughout the capital, but in his later years spent his days in obscurity working at small theaters and similar venues.

In April, at Kabuki-za Theater's middle act *Kanjinchō*, Kikugorō performed the role of Togashi Saemon for the first time, drawing mixed reviews when compared to Sadanji.
Benkei was played by Danjūrō; Yoshitsune by Fukusuke.

June 26th: Second Generation Onoe Taga-no-jō died in Ishikawa Prefecture, Kanazawa.
At one time, he enjoyed considerable popularity as a female impersonator who performed O-Tomi opposite Danjūrō's Yosaburō, but his later years were spent in lonely itinerant performances.
The year of his death remains unclear.

Haruki-za Theater’s new construction was completed, and it opened from July 14th.
Sarunosuke, Totsuko, Tomijūrō, Ichizō, and others attended.

August 24th: Sawamura Kotōji died of a sudden illness in Hakone at age sixteen. He was the troupe leader of a children's theater.

In October, Matsui Shōyō’s historical play *Aku Genta* premiered at Meiji-za Theater. It marked the pioneering instance of staging a work by literati outside the theater world, with Sadanji portraying Aku Genta.

In November, a monster play titled *Bakemono Shibai* was performed at Shintomi-za Theater, with Kichiroku as Yuranosuke and Yugiri, Danhachi as Hangan, and Gantarō as Izaemon, greatly amusing the audience.

Meiji 33 (Kanoe-Ne), 1900

In January, the first issue of the theater magazine *Kabuki* was published.
It was edited by theater critic Miki Takeji.

January 15th: Theater control regulations were revised.
The number of large and small theaters, which had previously been limited to twenty-two locations, was increased to twenty-seven locations.
At the same time, the existing performance time limit of eight hours was extended and revised to nine hours.

In March, *Yoruuchi Soga* and *Kōchiyama* were performed at Kabuki-za Theater.
On the tenth day, Danjūrō contracted influenza, and the performance was halted midway.

In April at Kabuki-za Theater, they replaced the first play with *Senbonzakura* while keeping the second as it was, and though Kikugorō performed Kōchiyama, it ended with poor attendance.

July 1st: They staged a French magician’s act at Kabuki-za Theater.
Their technique was so poor that the entire audience rose to their feet in an uproar, ultimately leading to cancellation after just one night.

August 11th: Rakugo storyteller Sanyūtei Enchō dies at age sixty-two.
Hailed as a master of the early modern period, his oral storytelling performances of works such as *The Peony Lantern*, *Shiobara Tasuke*, *Awataguchi*, and *Master Nagatsugu* were frequently adapted and staged at various theaters.

In November, *Chūshingura* (The Treasury of Loyal Retainers) and *Kokusen'ya* (The Battles of Coxinga) were performed at Kabuki-za Theater.
Kikugorō performed his debut roles of Michiyuki no Kanpei and Kokusen'ya, but from the seventh day onward, he suffered from cerebral anemia and was absent from performances.
Danjūrō and Kikugorō had recently aged remarkably, and theater enthusiasts could not help but feel a sense of desolation.

Meiji 34 (Metal Ox), 1901

January 10th: Third Generation Kawatake Shinshichi died at age sixty.
As a leading disciple of Mokuami, the new Kyōgen plays that were performed numbered over eighty in total.
Among them, the most famous included *Chūshingura Nenjū Gyōji* (The Treasury of Loyal Retainers Annual Observances), *Shiobara Tasuke*, *Botan Dōrō* (The Peony Lantern), *Kagotsurube* (The Caged Dipper), *Omatsuri Sashichi* (Festival Sashichi), and *Hosokawa no Kaji* (The Hosokawa Fire).

In February, Kawakami Otojirō returned to Japan from the United States.
At Ichimura-za Theater, *Tragedy During a Western Journey* was performed.

In February, Austrian actor Charles Taylor’s troupe performed Western drama for one week at Kabuki-za Theater.

February 14th: Torii Kiyosada dies at age fifty-eight.
He was from a renowned house of the Torii school of theater paintings.

February 21st: Third Generation Nakamura Tomijūrō dies at age forty-three.
He was a female impersonator from Osaka who, despite his large build, was employed in wife roles.

In March, Haruki-za Theater was put up for auction due to a debt of 20,000 yen.

In May, Nakamura Fukusuke succeeded to his adoptive father’s name and became Nakamura Shikan V, performing the role of Ishikawa Goemon in the middle act of *Rōmon* at Kabuki-za Theater.

September 29th: Second Generation Bandō Hideshige dies at age fifty-four. As a female impersonator, his looks were not striking, but his acting skills were renowned as exceptional. Danjūrō and Kikugorō were known as female impersonators.

In October, Fukagawa-za Theater performed Mokuami's *Benten Kozo* without authorization and were sued by Yoshimura Ito, the author's surviving daughter.
The court ordered Dr. Tsubouchi Shōyō to conduct an appraisal, and the plaintiff ultimately prevailed.

Meiji 35 (Mizunoe-Tora [Water Tiger]), 1902

In January, Kikugorō was absent from Kabuki-za Theater’s spring performance due to illness.

In April, Kikugorō fully recovered from his illness and returned to work at Kabuki-za Theater, performing the new play *Yamanaka Heikurō*, but his leg disability became noticeable.
In exchange for Kikugorō’s return, Danjūrō was absent due to illness.

In August, puppeteers Kiritake Monshūrō and Yoshida Tamajū from Osaka Bunraku-za came to Tokyo and staged a puppet play at Meiji-za Theater.
The tayu were Date Tayu, Aioi Tayu, and others, and this time the performance was well-received.

October 27th: Katsu Genzō of Osaka died at age fifty-nine.
He was the child of Kawarake Nōshin and went to Osaka in Meiji 3 (1870), eventually becoming the foremost kyōgen playwright in Kyoto and Osaka.
His works were quite numerous.

Meiji 36 (Mizunoto-U [Water Rabbit]), 1903

January 28th: Hanayagi Jusuke died at age eighty-three.
He was from a renowned house of choreographers.

February 18th: Fifth Generation Onoe Kikugorō died at age sixty. He was a leading star actor of the Meiji era and one of the celebrated trio comprising Danjūrō, Kikugorō, and Sadanji.

In February, Kawakami Otojirō staged an adaptation of *Othello* at Meiji-za Theater.

In March, Kikugorō’s surviving sons—Eizaburō became Sixth Generation Baikō, Ushinosuke became Sixth Generation Kikugorō, and Eizō became Sixth Generation Eizaburō—and at Kabuki-za Theater, Danjūrō announced their name succession.

April 6th: A fire broke out at Kairyō-za Theater in Kanda Misaki-chō, resulting in its complete destruction.

In April, Fujisawa Asajirō adapted and staged Tokutomi Roka’s novel *Hototogisu* for the first time at Hongō-za Theater. It drew a full house.

In May, Takasagoya Fukusuke and his son came to Tokyo from Osaka and began performing at Ichimura-za Theater.

In May, Ichikawa Somegorō changed his name and became Ichikawa Komaizō VIII.

From July 15th, historical tableaux vivants were staged at Kabuki-za Theater.

In August, the Bunraku-za puppet troupe came to Tokyo again and held their performance at Kabuki-za Theater.
This time around, the reception proved unfavorable.

September 13th: Ninth Generation Ichikawa Danjūrō died in Sōshū Chigasaki at age sixty-six.
The two renowned actors, Danjūrō and Kikugorō, had departed this world with a mere six months between them.

In October, Kawakami Otojirō staged fairy-tale plays for three days at Hongō-za Theater.
This marked the advent of this type of play.

In October, Kataoka Gatō came to Tokyo from Osaka and began performing at Kabuki-za Theater.

From this theater run, Ichimura Udanji changed his name and became Ichimura Uzaemon XV.

Recently, Kawakami and other shinpa troupes had consistently filled venues to capacity at every performance, demonstrating an unbroken winning streak, while kabuki theater—having lost both of its stars, Danjūrō and Kikugorō—appeared increasingly overwhelmed in this climate.

From December 3rd for seven days, Ichimura-za Theater held the Famous Arts Assembly to celebrate its 250th anniversary.

Meiji 37 (Kinoe-Tatsu [Wood Dragon]), 1904

In February, the Russo-Japanese War began.

March 16th: Kiyomoto Enyu Okina dies at age seventy-three.
A master of Kiyomoto narrative music spanning from the late Edo period into the Meiji era, he was initially known as the fourth generation Enju Tayū.
All Kiyomoto pieces for Mokuami’s works had been narrated by this artist.

In March, Dr. Tsubouchi’s *Kiri Hitoha* (A Paulownia Leaf) premiered at Tokyo-za Theater.
Kataoka Gatō’s portrayal of Katagiri Katsumoto and Nakamura Shikan’s Yodo no Kata were both well-received.

March 27th: Ichikawa Gonshirō dies at age fifty-seven.
He was the successor to Osaka actor Arashi Rikaku; after being released from prison, he entered Danjūrō’s school, gradually advanced, and came to be known as a "lord actor" due to excelling in dignified roles.

○ Regardless of whether they were kabuki or shinpa, large and small theaters competed to stage Russo-Japanese War plays.
Moreover, their box office results did not match those seen during the First Sino-Japanese War.

In April, the war play *Gunkan Homare Yashū* (Fleet’s Honor: Night Raid) was staged at Kabuki-za Theater to poor reception.
At the same time, Dr. Mori Ōgai’s *Saint Nichiren’s Street Preaching* was staged to favorable reception.

In May, a war drama titled *Tekikoku Kōfuku* (Enemy Country Surrender) was staged at Meiji-za Theater as well.
During this theater run, Ichikawa Sadanji fell ill.

August 7th: Ichikawa Sadanji died at age sixty-three.
Danjūrō and Kikugorō had passed away the previous year, and Sadanji passed away in this year.
With all three great actors having perished, the kabuki theater world was plunged into gloom.
Shinpa theater grew ever more prosperous.

Sadanji’s surviving son Enjō would come to manage Meiji-za Theater following his father’s passing.
He was twenty-five years old at the time.
From September 15th, *Ushiwakamaru* and *Sokotsu no Shisha* ("The Negligent Messenger") were performed.

In October, Bando Shokutaro changed his name to Bando Hidetoshi III.

Due to the effects of the war, each theater’s box office results were unfavorable.

Meiji 38 (Kinoto-mi [Wood Snake]), 1905

In January, Hugo’s five-act *Ernani* was staged at Meiji-za Theater.
Matsui Shōyō adapted it into the world of *Hakkenden*.

February 15th: Third Generation Bandō Tamagoro died abroad in America at age twenty-three.
She was Morita Kanya’s daughter.

In March, *Chronicle of Swiss Patriots* was performed at Meiji-za Theater.
Schiller’s *Wilhelm Tell* was adapted by Iwaya Sazanami.

In April, Ichikawa Komaizō staged the opera *Roei no Yume* (Dream of the Encampment) for the first time at Kabuki-za Theater.
The score was composed by Kitamura Kiharu.

In September, due to dissatisfaction with the Russo-Japanese War’s peace terms, arson riots broke out in various locations across the city; consequently, all theaters suspended performances for two days on the 6th and 7th.

From September 23rd for fifteen days, a memorial performance for Ichikawa Danjūrō was held at Kabuki-za Theater, with all members of the Ichikawa family in attendance.

October 13th: The renowned British actor Henry Irving suffered a cerebral hemorrhage on stage and died at sixty-eight years old.

Meiji 39 (Hinoe-Uma [Fire Horse]), 1906

January 4th: Fukuchi Ōchi Koji dies at age sixty-six.
In the early Meiji era, he had been renowned as a journalist and political commentator, but later turned to become a novelist and playwright, writing exclusively for Danjūrō at Kabuki-za Theater since its founding.

The Bungei Kyokai (Literary Arts Association), chaired by Dr. Tsubouchi, held its first trial performance on the evening of February 17th at Momiji-kan in Shiba Park.
Doi Shunsho, Togi Tetteki, Mizuguchi Biyō, and others performed.
The plays were new works: *Imoseyama* and *Kojō Rakugetsu* by Hoshikura.

March 11th: Fourth Generation Iwai Matsunosuke dies at age forty-nine during a touring performance in Hokkaido.
Though his later years were unremarkable due to heavy drinking, in his prime he was a renowned female impersonator who partnered with Danjūrō and Kikugorō.

In April, Meiji-za Theater opened with performances by the comedy troupe of Soganoya Gorō and Jūrō.
This marked the premiere of comedy in Tokyo.

May 6th: Tokiwazu Rinchū dies at age sixty-five.
He was a master chanter renowned for his beautiful voice.

May 8th: Fifth Generation Ichikawa Sumizō died at age sixty-two.
In his later years, he was employed at Miyato-za Theater in Asakusa Park, whereas previously he had performed on stages with Danjūrō and Kikugorō, excelling in roles of elderly characters.

In September, at Meiji-za Theater, Ichikawa Enjō assumed the name Second Generation Sadanji and performed his father’s signature role of Marubashi Chūya.

On November 10th, the Bungei Kyokai held its inaugural performance at Kabuki-za Theater.
The plays were *Kiri Hitoha* (A Paulownia Leaf), *The Merchant of Venice*, and *Tokoyami* (Eternal Darkness).

December 11th: Third Generation Kataoka Ichizō died at age fifty-six.
He was known for his villain roles and elderly roles.

December 12th: Ichikawa Sadanji embarked on a journey to Europe and America for theater research.

Meiji 40 (Hinoe-Hitsuji [Fire Sheep]), 1907

In January, Engei Gahō-sha published the first issue of *Engei Gahō*.

January 20th: Kakuto Sadanori dies in Osaka at age forty-one.
He was the founder of political activist theater.

February 25th: A dinner party was held at Prime Minister Saionji’s residence, with Kabuki-za executive actors including Shikan, Yaōzō, and Kōraizō all being invited.

April 14th: Kiyomoto Umekichi died at age fifty-eight.

○ June 1st and 2nd: The Spring Willow Society of Qing dynasty students studying abroad held a theatrical performance at Hongō-za Theater.
The play was *Uncle Tom's Cabin*, which was well-received.

○ August 2nd: First Generation Ichikawa Arajiro died at age fifty-eight.
He was the younger brother of the first Sadanji and excelled in villain roles and comedic roles.

○ October 2nd: Yamaguchi Sadao died at age forty-seven.
He was also a leader of the shinpa theater movement.

On November 11th, Gotō Shinpei, President of the South Manchuria Railway, presided over an event where he hosted His Highness Puren Beizi of Qing China at Kabuki-za Theater for a theatrical viewing.

November 22nd: The Bungei Kyokai (Literary Arts Association) held its second public performance.
The plays were *Hamlet*, *Urashima*, and *Daigokuden*, with Doi Shunsho’s Hamlet receiving acclaim.

Meiji 41 (Tsuchinoe-Saru [Earth Monkey]), 1908

In January, during the second program *Keiba Haruno Sakigake* at Kabuki-za Theater, real horses were employed on the racetrack stage. The jockeys were Dango and Eisaburō.

January 12th: Miki Takeji dies at age forty-two.
The younger brother of Dr. Mori Ōgai, a medical graduate and theater critic.
He was the publisher of the magazine Kabuki.

In January, Meiji-za Theater opened for its first performance run following Sadanji's return to Japan. The management methods, which had been improved in various aspects to emulate Western theaters, drew the general audience's resentment and ended in complete failure.

In February, there was a charity performance by the Maritime Association at Kabuki-za Theater. Ms. Hasegawa Shigure’s historical play *Hanamaru* was selected in the association’s script competition and performed as the opening program.

June 17th: A welcoming theater viewing party for Dr. Koch was held at Kabuki-za Theater.

In September, Kawakami Otojirō's wife Sadayakko opened an actress training institute.
The first enrollees were Mori Ritsuko, Murata Kakuko, Hatsuse Namiko, Kawamura Kikue, and a dozen or so others.

In September, Kawakami Otojirō, advocating for reformist theater, staged performances at Meiji-za and Hongō-za Theaters. Meiji-za featured Sadanji’s troupe, while Hongō-za had Fukazawa Tsunezō and others from the shinpa school; both occupied full houses.

In September, at Kabuki-za Theater, Sawamura Tosshō assumed the name Seventh Generation Sawamura Sōjūrō and took on the role of Karukaya Dōshin in *Kōyasan* (Mount Kōya).

October 5th: A fire broke out at Kotobuki-za Theater in Honjo, resulting in its complete destruction.

December 1st: Yūraku-za Theater in Kōjimachi Ward’s Yūraku-chō was completed, and an opening ceremony was held.
Constructed through the initiative of a group of nobles and gentlemen with the purpose of being a high-class performance hall, it later came to function as a regular theater.

Meiji 42 (Tsuchinoto-Tori [Earth Rooster]), 1909

In February, a memorial performance for Fifth Generation Onoe Kikugorō was held at Kabuki-za Theater.

June 26th: Inoue Takejirō died at age sixty.
From Meiji 30 to 39, he had served as president of Kabuki-za Theater.

In June, at Kabuki-za Theater, Ichikawa Danzō performed his once-in-a-lifetime role of Niki Danjō, which was well-received.

November 27th and 28th: Osanai Kaoru and Ichikawa Sadanji jointly held the Free Theater's first public performance at Yūraku-za Theater.
The play *Borkman* was well-received.

December 7th: Yoda Gakkai died at age seventy-seven.
Around Meiji 20 (1887), [Yoda Gakkai] had devoted himself to theater reform and written plays such as *Yoshino Shūi Meika Homare* (The Glory of Yoshino's Forgotten Masterpieces)
[including] *Seitō Bidan Shukujo-sō* (Political Party Virtuous Tales: A Lady's Chastity) and several others.

Meiji 43 (Kanoe-Inu [Metal Dog]), 1910

April: Under the direction of Nakamura Kichizō, the New Society Theater Troupe held its first performance at Tōkyō-za Theater.

May 28th: The Free Theater held its second public performance at Yūraku-za Theater.
The plays were Frank Wedekind’s *The First Half Hour Before Departure*, Mori Ōgai’s *Ikutagawa*, and Anton Chekhov’s *The Dog*.

In June, at Kabuki-za Theater, Ichikawa Medora succeeded to the name Sixth Generation Kadonosuke and performed in *Izumo no Okuni* (The Okuni of Izumo) by Ihara Seiseien.

In September, a memorial performance for the seventh anniversary of the previous Sadanji's passing was held at Meiji-za Theater.
At the same time, Fukuzō, the surviving child of Ichikawa Arajiro, succeeded to the name Second Generation Arajiro.

In September, at Kabuki-za Theater, Ichikawa Ennosuke changed his name to Second Generation Danzaburō and performed in *Kamahige* (Sickle Beard) from the Kabuki Jūhachiban (Eighteen Great Plays of Kabuki).

In November, Inoue Masao left the shinpa movement and founded the New Era Theater Association, staging Bernard Shaw’s *The Horse Thief* and Anton Chekhov’s *The Bear* at Yūraku-za Theater.

Meiji 44 (Kanoto-I [Metal Pig]), 1911

On March 1st and 2nd, the Imperial Theatre held its opening ceremony and began performances from the 4th.
The plays were Yamazaki Shikō’s *Yoritomo*, *Iga-goe*, and *Hagoromo*.
The actors were Baikō, Kōraizō, Sōjūrō, Sōnosuke, Matsusuke, and Ganjirō; the Western-style management methods—converting all spectator seats to chairs and implementing a ticket system for admission—proved popular, resulting in packed houses day after day.

In May, Okamoto Kidō’s *The Tale of Shuzenji* premiered at Meiji-za Theater; Sadanji’s Yasha-king was well-received.

In May, the Imperial Theatre staged an actress performance for the first time.
The principal actresses were Mori Ritsuko, Murata Kakuko, Hatsuse Namiko, and others; the novelty of an "actress performance" piqued public curiosity, resulting in an unexpectedly full house.

In May, a Bungei Kyōkai performance was held at the Imperial Theatre.
The play was *Hamlet*.

In July, Ms. Shibata Tamaki appeared at the Imperial Theatre and gave a solo performance.

In August, Shochiku Company attempted to acquire Kabuki-za Theater, causing disputes among some executives; ultimately Shochiku withdrew, resulting in a settlement.
Simultaneously, arguments emerged advocating complete abolition of theater-affiliated tea houses, though these remained unresolved.

October 26th–27th: The Free Theater held its fifth public performance at the Imperial Theatre.
The play was *The Lonely People*.

In November, Kabuki-za Theater held a reconstruction commemorative performance. Nakamura Shikan assumed the name Fifth Generation Utaemon.

In November, at the Imperial Theatre, Ichikawa Kōraizō assumed the name Seventh Generation Matsumoto Kōshirō.

November 11th: Seventh Generation Ichikawa Danzō died at age seventy-six. His former name was Kukuzō, and his signature roles included Sakuramon Sōgo, Niki Danjō, and Sanemori Monogatari. He was hailed as a great actor second only to Dan-Kiku.

On the same day, Kawakami Otojirō died in Osaka at age forty-eight. He was a pioneering contributor who first introduced student theater to Tokyo and laid the foundation for shinpa drama.

November 18th: A Bungei Kyōkai performance was held at the Imperial Theatre for one week.
The play was *A Doll's House*, with Matsui Sumako's Nora receiving acclaim.

Meiji 45 (Mizunoe-Ne [Water Rat]), 1912

January 7th: Nakamura Zenshirō died at age sixty-six.
In his later years, he did not thrive, but he was one of the contributors to the theater world who had long managed Ichimura-za Theater.

In March, under the direction of Kawamura Hanagiri, the first trial performance of the Saturday Theater was held at Yūraku-za Theater. The actors were graduates of the acting school managed by Fujisawa Asajirō.

In March, a monument-construction performance for Fukuchi Ōchi Koji was held at Kabuki-za Theater.
The plays were selected exclusively from Fukuchi Ōchi Koji’s works: *Kasuga no Tsubone* (Lady Kasuga), *Gishi Homare* (The Honor of Loyal Retainers), *Harusamegasa* (Spring Rain Umbrella), and *Shin Nanatsu-men* (The New Seven Masks).

In April, Hakubunkan published the first issue of *Engei Kurabu* (Theater Club).
Three years later, it was merged into *Engei Gabo* (Theater Illustrated).

April 27th–28th: The Free Theater held its sixth public performance at the Imperial Theatre.
The plays were *Dōjōji* and *The Death of Tintagiles*.

In July, due to Emperor Meiji’s illness, all theaters closed one after another from around the 20th.