Gidayu Takemoto

1651 (age 63)

Osaka, Japan

In 1684, he left Kaganojō and Kyoto, returning to Osaka and founding the Takemoto-za theatre. The year after his arrival saw a competition between Gidayū and Kaganojō for audiences in Osaka, as well as number of failed countryside tours, but also marked the beginning of Gidayū's collaborations with Chikamatsu, who he had met in Kyoto. Together, the pair overhauled the traditional elements of jōruri and reinvented the form, transforming it into the form which would be popular through much of the Edo period, and which it retains today. The Chihiroshū ("A Collection a Thousand Fathoms Deep"), Gidayū's first work to be published, was produced in 1686. The Jōkyō yonen Gidayū danmonoshū ("Collection of Jōruri Scenes of the Fourth Year of Jōkyō"), like his other works, contained a lengthy preface containing elements of Gidayū's theories and attitudes regarding the theater and performance. This text would remain a foundation one for jōruri performers up through the end of the 19th century.

Gidayu Takemoto

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義太夫竹本

also known as Gorobe, Rihe Shimizu

Gidayu reciter

Background

Gidayu Takemoto was born in 1651 to a farmer in Settsu (Osaka Prefecture) and was originally called Gorobe.

Career

In 1684, he left Kaganojō and Kyoto, returning to Osaka and founding the Takemoto-za theatre. The year after his arrival saw a competition between Gidayū and Kaganojō for audiences in Osaka, as well as number of failed countryside tours, but also marked the beginning of Gidayū's collaborations with Chikamatsu, who he had met in Kyoto. Together, the pair overhauled the traditional elements of jōruri and reinvented the form, transforming it into the form which would be popular through much of the Edo period, and which it retains today.

The Chihiroshū ("A Collection a Thousand Fathoms Deep"), Gidayū's first work to be published, was produced in 1686. The Jōkyō yonen Gidayū danmonoshū ("Collection of Jōruri Scenes of the Fourth Year of Jōkyō"), like his other works, contained a lengthy preface containing elements of Gidayū's theories and attitudes regarding the theater and performance. This text would remain a foundation one for jōruri performers up through the end of the 19th century.

Views

Though Gidayū fully acknowledged the older traditional forms which jōruri drew upon, he thought of his art as a contemporary creation, and was known to poke fun at those who valued lineage and tradition over skill and beautiful performance.

Connections

His son Takemoto Seidayū followed him as director of the Takemoto-za and continued the style and forms established by Gidayū.

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Gidayu Takemoto

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