Engei shashin
Engei shashin
Volume 2, 1923
Volume 2, 1923
Embedded Files
Selected Pages from Engei shashin Volume 2, Number 10, October 1923
Selected Pages from Engei shashin Volume 2, Number 10, October 1923
IHL Cat. #2788
click on image to enlarge
Engei shashin Volume 2, Number 10
演藝冩眞 第二年第十号
cover art (lithograph): Noh hannya (般若) demon mask
artist: Koshō Nobukata 古荘信方 (active 1896-1926)
signed: no signature; sealed: 平象 Heizō
published: October 1, Taishō 12 (1923)
published by: Kansai Bungeisha
大正十貳年十月壹日 發行
合資會社 關西文藝社發行
overall size: approx. 8 7/16 x 11 7/8 in. (21.4 x 30.1 cm)
The first issue published following the September 1, 1923 Great Kantō Earthquake included information about the relief efforts of the Kansai theater world. "When news of the Great Kantō Earthquake arrived, the theater world in Kansai was thrown into turmoil. Many actors residing in Tokyo returned to their hometowns, and efforts were focused on sending relief supplies to the disaster-stricken areas, leading to a temporary suspension of performances. . . [All] actors and staff devoted themselves to organizing and shipping relief supplies to the devastated Tokyo area."
Frontispiece (color lithograph)
Matsumoto Kōshirō [VII] as Wada Hyōe Hidemori [in the play Moritsuna's Camp] designed by Koshō Nobukata 古荘信方 (active 1896-1926), signing his name 信方 Nobukata and using the seal Imose いもせ
Cartouches in upper left reading
松本幸四郎 和田兵衛秀盛 (Matsumoto Kōshirō as Wada Hyōe Hidemori)
Advertisement for Takashimaya department store exhibition
高島屋の秋の百選會
Takashimaya's Autumn One Hundred Selected Items Exhibition
As autumn approaches, nature adorns itself with a tapestry of colors. In this season, Takashimaya's esteemed "Autumn's Best Selection" exhibition is being held. The collection features a rich palette centered around deep mountain purple [深山紫], complemented by shades of wet persimmon red [ぬれ柿朱], uraha green [裏葉綠], and yellowed leaf gray [黃葉鼠] reminiscent of autumn leaves. These colors are showcased in innovative patterns, including expressive new designs and revitalized traditional motifs. The earnest dedication behind each piece imparts a profound sense of strength and elegance to the collection.
Advertisement for
ニッポノホン ワシ印レコード
Nipponophone [Nippon Phonograph Co.] Eagle Brand Records
歌舞歌劇集曲目
Collection of kabuki and opera pieces
大阪角座九月狂言
『俠艷録』
September performance at Osaka's Kado-za
Kyōenroku
[Chronicle of passion by Satō Kōroku 佐藤紅緑 (1874-1949)]
梅島昇の瀨尾富士雄
Umejima Noburo [1887-1943] as Seo Fujio
喜多村綠郎の阪東力枝
Kitamura Rokurō [1871-1961] as Bandō Rikie
澤村鶴松の一子富美太郎
Sawamura Tsurumatsu as Ichiko Fumitarō?
噫々帝國劇場
Alas, the Imperial Theater (Teikoku gekijō)
right margin note: The Imperial Theater, once hailed as the finest in the Orient and counted among the notable landmarks of the Imperial Capital, succumbed to the fires ignited by the Great Kantō Earthquake on September 1. While its exterior shell remained, the interior was completely reduced to ashes. The accompanying photograph captures the burning Imperial Theater as viewed from within the Outer Moat.
大阪浪花座九月興行
『實錄先代萩』
Osaka's Naniwa-za September performance:
Jitsuroku sendai hagi
[The disputed succession]
伊達龜千代君(巖曉)
Date Kamechiyo-kun played by Ganjyō?
[unknown child actor]
乳人淺岡(巖笑)
Nyūdo Asaoka [Wet nurse Asaoka]
played by Ganshō
[Arashi Ganshō 嵐巖笑 (1862-1930)]
一子千代松(叉五郎)
Ikko Chiyomatsu – the small son of Asaoka
played by Matagorō
[Nakamura Matagorō II 中村叉五郎 (1914-2009)]
大阪浪花座九月興行『鯉つかみ』
琵琶湖鯉魚浪治の場
Osaka Naniwa-za September performance: "Koi tsukami" [Fight with a carp]
Scene: The carp's struggles in Lake Biwa
市川右團次の瀧窓志賀之助實は清若丸と瀧窓志賀之助實は鯉魚の精
Ichikawa Udanji [II] as Takimado Shiganosuké (real name: Kiyowaka Maru) who is actually Takimado Shiganosuké, the spirit of a carp
Koi tsukami
right margin commentary: The daughter of the Tsurushima family, Princess Kozakura, is fervently pursued in marriage by Shinoda Saemon Kiyozane. If she refuses, she is faced with a difficult ultimatum: to present the family’s treasured Ryūjinmaru [an heirloom sword] to the imperial regent’s household. However, Princess Kozakura has already sworn a lifelong bond to Takimado Shiganosuke, her true love. To make matters worse, the Ryūjinmaru has gone missing, its whereabouts unknown. Overcome with sorrow, the princess weeps day after day.
Meanwhile, the spirit of an ancient carp, long dwelling in Lake Biwa, harbors resentment against the ancestors of the Tsurushima family. The vengeful spirit takes the form of Shiganosuke and repeatedly deceives and torments the princess. However, the loyal retainer of the Tsurushima family, Shinohara Jirō Kimimitsu, along with his wife Yamabuki, joins forces with the real Takimado Shiganosuke to finally vanquish the carp spirit. In the end, Shiganosuke recovers the lost Ryūjinmaru, and he and Princess Kozakura joyfully celebrate their union in a grand wedding ceremony.
(This play is a signature performance of the Ichikawa Udanji lineage. It features the use of real water on stage, extending even to the hanamichi runway. Ichikawa Udanji performs a rapid costume change [hayagawari], portraying both the carp spirit and Takimado Shiganosuke in a dramatic dual role.)
大阪浪花座九月興行『四ツ谷怪談』（一）
市川右團次のお岩と戸板に打附けられたお岩の死骸
Osaka Naniwa-za September performance: Yotsuya kaidan (Part One)
Ichikawa Udanji [II] as Oiwa and the corpse of Oiwa nailed to the door.
大阪角座 佐藤紅綠氏作『俠艶錄』
劇中の劇重の井子別れ
Osaka Kado-za – Satō Kōroku’s Kyōenroku [Chronicle of passion]
Shigenoi kowakare [Shigenoi’s farewell to her child] – A play within the play
阪東力枝の乳人重の井 (喜多村綠郎)
市川ぼんたの馬追ひ三吉 (澤村鶴松)
Bandō Rikie, the wet nurse Shigenoi (played by Kitamura Rokurō)
Ichikawa Bonta, Umaoi no Sankichi (played by Sawamura Tsurumatsu)*
*This photo was reused three years later in Volume 5, Number 8, August 1, 1926.
關東大震災に付臨時休演したる大阪中座
Osaka Nakaza temporarily suspended performances due to the Great Kantō Earthquake.
right margin notes:
關東地方大震災の飛報來るや、關西劇界は東京に住める俳優の歸鄕其の他罹災地救援の物資發送等にて多忙の為め一時休演した、道頓堀中座も延若一座の大歌舞伎開演間際であつたが臨時休演して、俳優一同及び關係者全員東都へ送る慰問品の荷送り發送に舞臺以上の大活動をしたが震災地救援の資を得るめ再び開演した。
When news of the Great Kantō Earthquake arrived, the theater world in Kansai was thrown into turmoil. Many actors residing in Tokyo returned to their hometowns, and efforts were focused on sending relief supplies to the disaster-stricken areas, leading to a temporary suspension of performances.
At the Dotonbori Naka-za, Enjaku’s troupe was just about to begin a grand kabuki performance, but it was postponed. Instead, all actors and staff devoted themselves to organizing and shipping relief supplies to the devastated Tokyo area, engaging in efforts even greater than those seen on stage. However, in order to raise funds for disaster relief, performances were soon resumed.
大阪松竹事務所より關東災害地へ慰問品の發送
Shipment of relief supplies to the Kantō disaster area from the Osaka Shochiku office
right margin notes:
關西俳優及び劇場關係者從業員等より關東震災地へ送る慰問品は全部松竹事務所にて纏めて荷造發送した。同事務所の内外に山の如く積まれた慰問品は貨物自動車数十臺に滿載して第一回、第二回と連續的に大阪驛に運ばる、松竹社員一同は荷造に疲れへト〱になつてわゐた。
Relief supplies sent to the Kantō earthquake disaster area by Kansai actors, theater staff, and related personnel were all gathered, packed, and shipped from the Shochiku office.
Inside and outside the office, mountains of relief goods were piled up and loaded onto dozens of freight trucks, which continuously transported them to Osaka Station in the first and second shipments. The Shochiku staff, exhausted from packing, were utterly worn out.
大阪へ初目見得の名小役中村又五郎
Osaka debut of the renowned supporting actor, Nakamura Matagoro [II (1914-2009)]
Right: 素顔の又五郎
Matagoro in his natural appearance
Left: 千代松に扮した又五郎
Left: Matagoro in the role of Chiyomatsu
Right margin notes: The second-generation Nakamura Matagorō, son of the late Nakamura Matagorō—who was renowned as a prodigy of the Tokyo theater scene—made his Kansai debut at the Naniwa-za's September performance. Portraying Chiyomatsu in Jitsuroku Sendai Hagi, he captivated audiences across the city.
大阪角座九月興行 小島孤舟氏作『血緣』山手共同墓地の場
Osaka Kado-za September performance -
Ketsuen [Blood ties] by Kojima Koshū (1870-1920) – Scene at Yamate communal cemetery
Ketsuen
right margin notes: Oyanagi [seen on the right] became a victim of her cruel parents, who tore her away from her husband despite having a child together. Weak-willed, she obeyed her parents and remarried. However, her second husband, due to the manipulative schemes of her greedy parents, lost his fortune and ultimately perished. Left in destitution with the child he had left behind as a memento, Oyanagi found herself once again at the mercy of her parents, whose greed knew no bounds.
They conspired with a wealthy man who was captivated by Oyanagi’s beauty and attempted to force her into another marriage. Just as she was being coerced, she was rescued by a friend of her first husband. Taking his advice, she decided to leave her past behind and visited her late husband's grave to bid farewell.
By chance, there she encountered her former husband and child—now both successful and prosperous. Overcome with remorse for her past sins, she sought forgiveness. Even her once-heartless father, realizing the weight of his misdeeds, took his own life in repentance. Thanks to the mediation of the friend, Oyanagi was forgiven by her first husband, and the family was joyfully reunited, acknowledging each other once more as husband, wife, and child.
大阪樂天地九月狂言『古城の寶冠』海岸の巌窟
Osaka Rakutenchi September performance – The treasure crown of the ancient castle: the cave by the coast
醫學士樫原俊夫 (藤山秋美)
ルバンと稱する男速水洗 (松波義雄)
Doctor Kashihara Toshio played by Fujiyama Shūbi [d. 1933 – Seibidan actor]
A Man Called "Ruban," Hayami Ara played by Matsunami Yoshio
right margin notes:
The play "The Treasure Crown of the Old Castle" revolves around the treasured heirloom of Baron Hoshina's family — a rare and invaluable crown hidden deep within a coastal cave, known only to the baron himself. A nefarious man named Hayami Ara, also known as Ruban, harbors ambitions to claim both the crown and the baron's estate. He is infatuated with the baron's niece, Akiko, and devises a scheme to abduct her, forcing her to reveal the crown's location. With the help of his band of criminals, Ruban murders the baron and kidnaps Akiko, intending to fulfill his desires within the cavern. However, at the critical moment, Dr. Toshio Kashihara uncovers Ruban's plot, thwarting his plans and leading to Ruban's downfall.
大阪樂天地九月興行 岡田八郎氏作『靜馬の戀』
深川淨心寺境內
Osaka Rakutenchi September performance
A play by Okada Hachirō: Shizuma’s love
set in the precincts of Jōshin-ji temple, Fukagawa.
藤山秋美の長州浪人野田政人
Masato Noda, a rōnin (masterless samurai) from Chōshū – played by Fujiyama Shūbi
[d. 1933 – Seibidan actor]
渡邊かつ子の娘あよし
Ayoshi, a young girl – played by Watanabe Katsuko
[unknown child actor]
福井茂兵衛の捕手頭吉村末之進
Yoshimura Suenoshin, the head constable – played by Fukui Mohei [1860-1930]
大阪浪花座九月興行『四ツ谷談怪*』本所蛇山庵室の場
* s/b 四ツ谷怪談
Osaka Naniwa-za September performance
Yotsuya kaidan [Yotsuya ghost stories] – Scene: Honjo hebiyama anshitsu [The hermitage at Hebiyama, Honjo]
Iemon Tamiya – played by Bandō Juzaburō [坂東壽三郎 III (1886-1954)]
The Ghost of Oiwa – played by Ichikawa Udanji [II, (1881-1936)]
Yotsuya kaidan
Right margin notes: Weakened in both body and mind from being tormented by the vengeful spirits of Oiwa and Kobei, Iemon seeks to console Oiwa’s soul at a hermitage on Hebiyama in Honjo. As he prays, a lantern sways at the eaves, and from within, the ghost of Oiwa appears, handing him a baby. When Iemon looks closely, he realizes it is actually a stone Jizō statue. Enraged, he draws his sword and strikes down a sotoba (memorial tablet).
Such eerie occurrences continue to haunt Iemon. Moreover, objects that were supposed to secure his rise in the world — Moronao’s ink-signed decree and the treasured Shōgetsu scroll — are rendered useless due to supernatural disturbances. Meanwhile, his wicked accomplices, Sekiguchi Kanzō and Akiyama Chōbei, are lifted into the sky by Oiwa’s ghost and are carried off to an unknown fate.
Finally, Yomoshichi Satō, who calls himself an avenger of the slain Enya clan, along with other enemies including Iemon’s father-in-law Yotsuya Samon and many others, appear. In the end, they bring justice by slaying the cruel and ruthless Iemon.
京都座九月興行
『呪はれの日』[カヴアデール]
Kyoto-za September performance: The dursed day
河原市松の藝妓淺吉實は妹おさく
Asakichi, a geisha, truly Osaku, the younger sister – played by Kawara Ichimatsu
都築文男の偵探局次長濱名正雄
Masao Hamana, Deputy cdhief of the Detective bureau – played by Tsuzuki Fumio [1883-1946]
(筋書は九月號角座八月狂言に掲載したれば省略す)
(The plot is omitted as it was published in the August issue of Kadoza Hachigatsu Kyogen.)
市村座は焼けたが頭目は無難
The Ichimura-za burned down, but the leading figures are safe
阪東秀調
大谷友右衛門(上)
尾上菊五郎
阪東彥三郎(上)
市川男女藏
Bandō Shūchō [III]
Ōtani Tomoemon (Senior) [VI]
Onoe Kikugorō [VI]
Bandō Hikosaburō (Senior) [VI]
Ichikawa Danjurō [IX]
大阪辨天座九月興行 替り狂言 『尉と姥』 下宿屋近江屋の座敷
Osaka Benten-za September performance
replacement play: Jō and Uba (jōtōba)
Set in the guest room of the Ōmiya Inn
親太郎左衛門 (太郎)
Tarō Saemon [Minoru Kawai’s father] played by Tarō
苦學生小泉猛 (淡海)
Takeshi Koizumi, a struggling student played by Ami
同河合實 (十太郎)
Minoru Kawai played by Jūtarō
近江屋の主婦 (虎笑)
The mistress of the Ōmiya Inn played by Toraemi
藝妓花蝶(天女)
Geisha Kachō played by Tennyo
紳士蜂須賀 (都)
Gentleman Hachisuka played by Miyako
Note: No information is available on either the actors or this performance outside of what's provided on the page.
Jō and Uba
right margin notes: The deeply filial Minoru Kawai, despite being a struggling student selling evening newspapers to make ends meet, told his parents that he had become the president of a newspaper company to put their minds at ease.
Overjoyed by his son’s supposed success, Tarō Saemon, Kawai’s father, traveled to Tokyo, only to discover his son in his shabby newspaper vendor’s attire. Embarrassed, Kawai managed to deceive his father for the time being and narrowly escaped the situation.
Hearing about this, Kawai’s close friend, Takeshi Koizumi, came up with a plan. Since the geisha Kachō was deeply in love with Kawai, Koizumi decided to have her pose as his wife. He persuaded the mistress of the Ōmiya Inn to play along, creating the illusion that Kawai was indeed a newspaper president. When Tarō Saemon arrived, he was completely fooled.
To complete the act, Koizumi took on the role of the elderly man (Jō), while the inn’s mistress played the elderly woman (Uba)—a completely out-of-character but stylish performance. Together, they forced Kawai, who disliked women, into accepting Kachō as his wife, successfully resolving the situation.
大阪辨天座九月興行 『思ふ壺』 植木屋甚吉の宅
Osaka Benten-za September performance
Omō Tsubo (Just as planned)
At the home of Jinkichi, the gardener
辨慶の植木屋甚吉
Jinkichi, the gardener – played by Benkei
紫雪の女房お米
Okome, his wife – played by Shisetsu
千島の娘お花
Ohana, their daughter – played by Chishima
祐十郎の大學生高倉
Takakura, a university student – played by Yūjūrō
Note: No information is available on either the actors or this performance outside of what's provided on this page. The actor Yūjūrō 祐十郎 may well be Soganoya Yūjūrō who formed his own comedy troupe the Soganoya Yūjūrō troupe 曾我廼家祐十郎一座 and was active in the Kansai area. The other actors may have been part of his troupe.
Omō Tsubo
right margin notes: The gardener Jinkichi had set his sights on Takakura, a university student lodging at Kōtokuji Temple, as a suitable match for his beloved daughter, Ohana. Determined to win Takakura's favor, he instructed his wife and daughter to do everything they could to charm him.
However, unbeknownst to her parents, Ohana and Takakura had already fallen in love, and before long, Ohana became pregnant. One day, Jinkichi and his wife were shocked—yet overjoyed—to learn of the pregnancy from Onatsu, the hairdresser.
Eager to secure their daughter's future, they approached the head priest of Kōtokuji temple, Takakura’s guardian, and formally requested to take him as their son-in-law. However, their request was flatly rejected.
Undeterred, Jinkichi devised a clever scheme. Using a mix of persistence and cunning, he managed to manipulate the stubborn and rigid priest into a situation where he had no choice but to accept. In the end, Jinkichi skillfully resolved the matter, ensuring that his cherished daughter was happily engaged to Takakura, just as he had wished.
大阪辨天座九月興行 二の替り
『男心』圓山公園の場
Osaka Benten-za September performance
second series
Otokogokoro (A man's heart) - Scene at Maruyama Park
中山清(辨慶)
Kiyoshi Nakayama (played by Benkei)
中山妻春枝(秋月)
Harue Nakayama (played by Akizuki)
松田妻芳子 (一富士)
Yoshiko Matsuda (played by Ichifuji)
松田貞雄 (紫雪)
Sadao Matsuda (played by Shisetsu)
難を遁れた三花形
市村竹松
尾上榮三郎
中村福助
Three star actors who escaped danger:
Ichimura Takematsu
[IV (1904-1952)]
Onoe Eizaburō
[VII (1899-1926)]
Nakamura Fukusuke
[V (1900-1933)]
Devastation in the Eastern Capital
right margin notes: The recent great earthquake completely devastated the theater scene in the Eastern Capital.
Kabuki-za – Only the steel framework remained; the interior was entirely destroyed by fire.
Imperial Theater – The outer structure remained, but the entire interior was burned down.
Other major theaters, including Shintomi-za, Meiji-za, Hongō-za, Ichimura-za, Kōen gekijō, Kannon gekijō, Tokiwa-za, Miyato-za, Teikyō-za, and Mikuni-za, were all completely destroyed by fire.
The cinema industry also suffered severe damage, with the Teikoku-kan, Shōchiku-kan, Denki-kan, Konparu-kan, Kyōbashi Shōchiku-kan, Tatsumi gekijō, Kanda gekijō, Taishō-kan, Daimon-kan, Azabu Shōchiku-kan, Dōzaka Shōchiku-kan, Nezu Fuyō-kan, and Akasaka Teikoku-kan all completely burned down.
懸賞 誰れこ誰れでせう?
Contest: Who is Who?
Please submit your answers on a postcard, as usual, by October 20th to the Contest Department of our company. Clearly indicate who is on the right and who is on the left.
The prizes are as follows:
First Prize (1 winner): One-year subscription to Engei shashin
Second Prize (2 winners): Six-month subscription to Engei shashin
Third Prize (10 winners): A copy of the October issue of this magazine.
Colophon and announcement of prize winners
(see Colophon Details for publishing information in left margin)
Right side within border: announcement of prize winners for free subscriptions.
Left side within border: Listing of branch offices of Engei shashin
Colophon Details
Engei shashin (Performing arts photographic), issue 10 of the second year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on September 28, Taishō 12 (1923)
Published on October 1, Taishō 12 (1923)
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All rights reserved
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Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
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Editor and publisher: Takashima Komanosuke
57 Ōkawa-chō, Higashi-ku, Osaka City
Printing house: Ando Photography and Printing Works
2-chōme-9 Kyōmachibori-dōri, Nishi-ku, Osaka City
Printer: Ando Kanenori
2-chōme-9 Kyōmachibori-dōri, Nishi-ku, Osaka City
Publishing house: Kansai bungeisha
57 Ōkawa-chō, Higashi-ku, Osaka City
Colophon Transcription
演藝寫眞 第二年第十一號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十二年十月廿八日印刷納本
大正十二年十一月一日發行
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不許複製
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定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
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編輯兼發行人 高島駒之助
大阪市東區大川町五十七番地
印刷所 安藤寫眞製版所
大阪市西區京町堀通二丁目九番地
印刷人 安藤兼則
大阪市西區京町堀通二丁目九番地
發行所 合資會社
關西文藝社
大阪市東區大川町五十七番地
Back cover
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Back Cover Transcription
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Selected Pages from Engei shashin Volume 2, Number 11, November 1923
Selected Pages from Engei shashin Volume 2, Number 11, November 1923
IHL Cat. #2738
click on image to enlarge
Engei shashin Volume 2, Number 11
演藝冩眞 第二年第十一号
cover art (lithograph): Shibaraku 暫
artist: Koshō Nobukata 古荘信方 (active 1896-1926)
signed: no signature; sealed: 信方 Nobukata within black outlined rectangular cartouche
published: November 1, Taishō 12 (1923)
sales office: Engei shashinsha
大正十貳年十一月壹日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
From the Preface - A Response to the September 1923 Great Kantō Earthquake
Looking at the formations of geese in the clear blue sky and seeing the mountains and fields adorned with a crimson brocade, we are in a wonderful season. We sincerely congratulate our esteemed readers for their continued support and wish them the utmost prosperity. Last July, our company launched "Performing Arts Photographic" to introduce emerging arts [e.g. shingeki 新劇, New Theater], which have become the darlings of modern culture, to society by gathering the finest talents from the theater world, both East and West. This publication received overwhelming praise and achieved remarkable growth, rare in the publishing world, soon after its launch, leading to the prosperity we enjoy today. This success is entirely due to the tremendous support from our readers and the extraordinary talents of the actors, for which we express our deepest respect and gratitude.
On September 1st, a historically unprecedented earthquake struck the Kantō region [Great Kantō Earthquake, September 1, 1923] centered around Tokyo, causing near-total destruction to the proud cultural cities of Tokyo and Yokohama. In response, our company dispatched staff to the disaster areas to document the situation and bring attention to the plight of the victims suffering from hunger, urging our fellow countrymen to provide aid as quickly as possible. Braving numerous challenges, our team worked tirelessly to capture the scene, and as a result, we were able to publish "Earthquake Disaster Report" leading the nationwide photo magazines. We received overwhelming requests, with tens of thousands of copies sought. This experience has made us keenly aware of the significant contribution that photo magazines can make to cultural advancement and social service. Consequently, we have launched a photo newspaper*, unprecedented in the East. Unlike traditional photo journals, this photo newspaper will capture daily events occurring in society, providing detailed explanations and publishing them monthly, serving as invaluable historical and educational material, unmatched by any other. Going forward, our company is committed to our photo newspaper and "Performing Arts Photographic," dedicating all our efforts to producing superior content with each issue to meet and exceed the expectations of our readers. We earnestly request your continued support and patronage.
*The Shashin shinbun 寫眞新聞 was launched in December 1923
November 1, 1923
Kansai Bungeisha Ltd. Partnership
Eigei Shashinsha Management
Shashin Shinbunsha
Preface thanking readers and announcing launching of the Shashin Shinbun a photo newspaper. The publisher's response to the September 1, 1923 Great Kanto Earthquake is discussed, see above. (See "From the Preface" above.)
Frontispiece (color lithograph)
Ichikawa Ennosuke [II] as Musashibō Benkei designed by Koshō Nobukata 古荘信方 (active 1896-1926), signing his name 信方 Nobukata and using the seal のぶかた Nobukata.
Cartouches in upper right reading 武藏坊辦慶 市川猿之助 (Ichikawa Ennosuke as Musashibō Benkei)
京都明治座十月狂言 『大森彥七』
Kyōtō Meij-za* October performance
Omori Hikoshichi
中村扇雀の千早姫
Nakamura Senjaku [I (1902-1983)] as Chihaya Hime
市川小太夫の大森彥七
Ichikawa Kodayu [II (1902-1976)] as Omori Hikoshichi
*later known as the Shōchiku-za
『武藏野の狸』
Musashino no tanuki
Due to the earthquake, the performance of Tanuki of Musashino by the Soganoya comedy troupe* will be held at Osaka Naka-za in October
牝狸 (大磯): Female tanuki ([Soganoya] Ōiso)
古狸 (五郎): Old tanuki ([Soganoya] Gorō)
牡狸 (蝶六): Male tanuki ([Soganoya] Chōroku)
*see "Soganoya Comedy Troupe"
*Soganoya Comedy Troupe
*Soganoya Comedy Troupe
Source: Soganoya, Gorō (1877–1948) by Fukushima Yoshiko, Routledge Encyclopedia of Modernism, Taylor and Francis, https://www.rem.routledge.com/articles/soganoya-goro-1877-1948
Soganoya, Gorō (1877-1948) was a Japanese actor, director and playwright who created a new genre of modern comedy called kigeki (also shinkigeki.) He wrote around 1,000 short comedies under the pen name Ikkai Gyojin. His comedy style was inspired by humor as well as the satirical and ironical laughter of Western comedy such as that of Moliére. Many of his works are still performed by the comedy troupe, Shōchiku Shinkigeki. His signature pieces include The Flower of the Luffa (1917) and Cherry Trees in Leaf (1933).
Soganoya became a student of the kabuki actor Nakamura Sangorō in 1892 and made his stage debut as the utility actor Nakamura Sannosuke at Osaka’s Naniwaza in 1893. In 1902 he met Nakamura Tokizo’s student, Nakamura Jidai (1869–1925) at the traveling kabuki troupe Osaka’s Fukuiza. In 1903, using their new names, Sannosuke as Gorō and Jidai as Jūrō, they formed Soganoya Brothers Troupe in order to create new comedy to replace the old style of comedy called niwaka which had been established by Tsuruya Danjurō in Osaka. Their debut in 1904 at Yūokaza in Itami near Osaka was a failure, but their first success came with Funny Kanjinchō acted for the traveling kabuki troupe, Nakamura Fukuen Ichiza in Wakayama, in which Gorō acted the role of Benkei and Jūrō Togashi.
滅茶々々になつた東京の劇場
Tokyo's theaters a complete mess
top right: Shintomi-za in Shintomi-chō
top left: Meiji-za in Hisamatsu-chō
bottom: Yūraku-za in Marunouchi
京都明治座 青年歌舞伎 十月狂言
『辨天女男白浪』五人男
白浪五人男
Kyoto Meiji-za, October Young Men Kabuki (Seinen Kabuki) performance: Benten musume meo no shiranami, gonin otoko
Ichikawa Kodayū II [市川小太夫 (1902-1976)] as Benten Kozō Kikunosuke
Ichikawa Enzō [市川莚蔵 (?-?)] as Nango Rikimaru
Nakamura Senjaku I [中村扇雀 (1902-1983)] as Tadanobu Rihei
Kataoka Shūrō [片岡秀郎 (1888-1958)] as Nippon Daemon
Arashi Kakuzō V [嵐玨藏 (嵐珏蔵) (1900-1980)] as Akaboshi Jūzo
舞臺顔ご素顔を見比べて頂戴
Please compare the stage faces with their real face
back row — Fukuoka Kimiko 福岡君子, Fujino Tsutae 富士野蔦枝, Izumo Hisae? 出雲久榮
front row - Miyoshi Eiko 三好栄子, Tamamura Utaji 玉村歌路, Fumiko Katsuragi 葛城文子
Colophon and announcement of prize winners
(see Colophon Details for publishing information in left margin)
Right side within border: announcement of prize winners for free subscriptions.
Left side within border: Listing of branch offices of Engei shashin
Colophon Details
Engei shashin (Performing arts photographic), issue 11 of the second year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printed and submitted on October 28, Taishō 12 (1923)
Published on November 1, Taishō 12 (1923)
-----------------
All rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
57 Ōkawa-chō, Higashi-ku, Osaka City
Printing house: Ando Photography and Printing Works
2-chōme-9 Kyōmachibori-dōri, Nishi-ku, Osaka City
Printer: Ando Kanenori
2-chōme-9 Kyōmachibori-dōri, Nishi-ku, Osaka City
Publishing house: Kansai bungeisha managed by Engei shashinsha
57 Ōkawa-chō, Higashi-ku, Osaka City
Colophon Transcription
演藝寫眞 第二年第十一號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十二年十月廿八日印刷納本
大正十二年十一月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
大阪市東區大川町五十七番地
印刷所 安藤寫眞製版所
大阪市西區京町堀通二丁目九番地
印刷人 安藤兼則
大阪市西區京町堀通二丁目九番地
發行所 合資會社
關西文藝社經營
演藝寫眞社
大阪市東區大川町五十七番地
Back cover
Back Cover Advertisement
Victor Aux-e-to-phone
One of the only two in Japan, the world's best loud phonograph. This machine perfectly reproduces the human voice as it is. It can produce sound ten times louder than ordinary phonographs!
Made by the American Victor Talking Machine Company Oak Setphon Imported by Sakai Kōseidō, Osaka
Back Cover Transcription
オークセトホン [ōkusetohon]
日本に二つしかない 世界一の大聲蓄音機
本機の特色に完全に肉聲のまゝ
普通蓄音器の十倍に發聲し得!
米國犬印ビクター蓄音器會社製
輸入元 大阪酒井公聲堂
Cover - Engei shashin Volume 2, Number 11
Cover - Engei shashin Volume 2, Number 11
"Borrowing" of an Earlier Design
"Borrowing" of an Earlier Design
On the right, Shibaraku from the album Kabuki jūhachiban gajō 歌舞伎十八番画帖, Vol. 1, 1917
by Kaneko Saburō 金子三郎.
click on image to enlarge
Preface Transcription - Engei shashin Volume 2, Number 11
Preface Transcription - Engei shashin Volume 2, Number 11
碧空に雁行を眺め山野に紅の錦織なす好季ごなりました。讀者諸賢 には益々御清常に渉らせられ慶賀至極に存じます、弊社は昨年七月現 代文化の寵見ご生れたる新興藝術を社會に紹介すべく、東西劇壇の優 秀を蒐めたる演藝寫真を發行致しました處多大の御好評を博し、創刊 日ならずして出版界稀に見るの發展を遂げ、今日の隆盛を見るに至りましたは、偏に江湖諸彥の御愛顧ご俳優諸君の偉大なる術の力に依るこごろであります、茲に滿腔の敬意を表し衷心より感謝致します。 去る九月一日東都を中心に關東地方に史上未だ見ざる大地震起り、 文化を誇りし東京、横濱兩市も殆んご全滅に近い大被害を受けました、此際弊社は、災害地の情況を普く社会に報導し、飢饑に泣く罹 災民の窮状を同胞に訴へ其の救濟の一日も速かならしめんご、厥然ご震災地に社員を派遣し、萬難を排して現場を撮影し不眠不休奮闘の結果、全國寫眞雜誌に魁し「震災情報」を發行致しました處、忽ち十敷萬部の御愛求の策を蒙りましたは曩日の事であります、弊社は今回寫眞雜誌が如何に文化進展、社會奉仕の上に功献大なるかを 痛感し、東洋に於て未だ類例なき寫真新聞を創刊致しました、寫真新聞は従来の寫眞畵報ごは其の趣を異にし、年間三百六十五日每日 社會に突發する事變を寫真に撮影し、これに詳細なる説明を加へ月刊ごして發行するものにして絶好の歴史、教育の資料であつて他に何物の追従を許さぬものご信じます、爾後寫真新聞、演藝寫真兩誌を弊社の生命ごし精勵奮闘、號を重ねる毎に優越なるものを掲載し 読者諸彦の御期待に添ふべく盡碎致す覺悟で御座います、何卒倍舊 の御後授御愛顧の程偏に御願ひ申上げます。
大正十二年十一月一日
合資會社 關西文藝社經營
演藝寫真社
寫真新聞社
Selected Pages from Engei shashin Volume 2, Number 12, December 1923
Selected Pages from Engei shashin Volume 2, Number 12, December 1923
IHL Cat. #2739
click on image to enlarge
Engei shashin Volume 2, Number 12
演藝冩眞 第二年 第十二号
cover art (lithograph):
[Onoe] Kikugorō VI as Naozamurai
六代目 [尾上] 菊五郎 直侍
artist: Koshō Nobukata 古荘信方 (active 1896-1926)
signed: no signature; sealed: 信方 Nobukata within red outlined rectangular caroutched
published: December 1, Taishō 12 (1923)
publisher: Engei shashinsha
大正十二年十二月一日 發行
發賣所 演藝寫真社
overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)
Frontispiece (color lithograph)
Sawamura Sōjūrō [VII] as Nagoya Sanza
沢村宗十郎 名古屋山三
Designed by Koshō Nobukata 古荘信方, active 1896-1926, signed 信方 Nobukata and sealed 平象 Heizō
大阪浪花座霜月興行『國定忠次』
November performance at the Osaka Naniwa-za: Kunisada Chūji
實川延若の國定忠次
Jitsukawa Enjaku [II] as Kunisada Chūji
中村雀右衛門の妾お万
Nakamura Jakuemon [III] as Kunisada's mistress Oman
東京日比谷公園に於ける野外劇『素襖落』
Outdoor theater at Tokyo Hibiya Park:
Suō otoshi
前列右から
In the front row, starting from the right:
彦三郎 Hikosaburō
[Bandō Hikosaburō VI 坂東彦三郎]
菊五郎 Kikugorō
[Onoe Kikugorō VI 尾上菊五郎]
榮三郎 Eizaburō
[Onoe Eizaburō VII 尾上榮三郎]
男女藏 Omezō
[Ichikawa Omezō IV 市川男女藏]
後列
Back row (from the right):
伊三郎 Izaburō
[Onoe Izaburō 尾上伊三郎]
鯉三郎 Koisaburō
[Onoe Koisaburō III 尾上鯉三郎]
素襖落の舞臺面
[Lower left inset]: stage scene for Suō otoshi
大阪浪花座十一月行興『安宅關』
November performance at the Osaka Naniwa-za: Ataka no seki - The Ataka barrier
right: 源判官義經 (市川猿之助)
Ichikawa Ennosuke [II] as Minamoto no Yoshitsune
center: 富樫之助家直 (市川右團次)
Ichikawa Udanji [II] as Togashinosuke Ienao
left: 武藏坊辨慶 (實川延若)
Jitsukawa Enjaku [II] as Musashibō Benkei
樂天地の休憩室でお芋を喰べながら..........
In the Rakutenchi [amusement park in Osaka] actors' lounge, eating sweet potatoes.
深澤恒造君, 河原市松君, 木下吉之助君
right to left: Mr. Fukazawa Kōzō, Mr. Kawara Ichimatsu, Mr. Kinoshita Kichinosuke
ユナイテツドアーテイスト 祉提供映畵 史劇
『ロビンフツド』
United Artists presents the historical drama Robin Hood.
*see below for a translation of the story summary appearing in the left margin
*ROBIN HOOD
"Richard the Lionheart's favored one, Huntington, was betrayed by Sir Guy of Gisbourne, a vassal of Prince John, and while advancing to France, he was captured and thrown into prison. However, he was rescued by his loyal followers and returned to England, where he became the legendary outlaw Robin Hood.
"Together with his comrades, he rebelled against the tyranny of Prince John. He reunited with his beloved, Lady Marian, whom he had thought dead, but she was kidnapped by one of Prince John's henchmen. Enraged, he led his followers to the royal palace, where he managed to rescue Lady Marian from Gisbourne’s grasp, but along the way, he was captured and was about to be executed. At that moment, he was saved by a mysterious knight, who turned out to be none other than King Richard himself. . ."
東京日比谷公園に於ける野外劇
『上杉謙信』
Outdoor theater at Hibiya Park:
Uesugi Kenshin
尾上松之助の上杉謙信
Onoe Matsunosuke as Uesugi Kenshin
Prize contest (懸賞) to identify the actors in the photos. "Who might this be?”
Submit your answers to the Sweepstakes Department by December 20. Winners announced in New Year's Issue.
Colophon and announcement of prize winners
(see Colophon Details for publishing information in left margin)
Right side within border: announcement of prize winners for free subscriptions.
Left side within border: Listing of branch offices of Engei shashin
Colophon Details
Engei shashin (Performing arts photographic), issue 12 of the second year, published once a month on the 1st day
Approved as a third-class mail item on July 5, Taishō 11 (1922)
Printedand submitted on November 28, Taishō 12 (1923)
Published on December 1, Taishō 12 (1923)
-----------------
all rights reserved
-----------------
Price per copy: 50 sen
New Territory (shin ryōdo*): 70 sen
Postage: 1 sen 5 rin
* the Japanese colonies of Korea, Taiwan, Southern Sakhalin Island, Kuril Islands, South Pacific Mandate
-----------------
Editor and publisher: Takashima Komanosuke
57 Ōkawa-chō, Higashi-ku, Osaka City
Printing house: Ando Photography and Printing Works
2-chōme-9 Kyōmachibori-dōri, Nishi-ku, Osaka City
Kyōmachibori-dōri, Nishi-ku, Osaka City
Printer: Ando Kanenori
2-chōme-9 Kyōmachibori-dōri, Nishi-ku, Osaka City
Publishing house: Kansai bungeisha managed by Engei shashinsha
57 Ōkawa-chō, Higashi-ku, Osaka City
Colophon Transcription
演藝寫眞 第二年第十二號每月一回一日發行
大正十一年七月五日第三種郵便物認可
大正十二年十一月廿八日印刷納本
大正十二年十二月一日發行
-----------------
不許複製
-----------------
定價壹部 金五拾錢
新領土 金七拾錢
郵稅壹錢五厘
-----------------
編輯兼發行人 高島駒之助
大阪市東區大川町五十七番地
印刷所 安藤寫眞製版所
大阪市西區京町堀通二丁目九番地
印刷人 安藤兼則
大阪市西區京町堀通二丁目九番地
發行所 合資會社
關西文藝社經營 演藝寫眞社
大阪市東區大川町五十七番地
Back cover
Back Cover Advertisement
Victor Aux-e-to-phone
One of the only two in Japan, the world's best loud phonograph. This machine perfectly reproduces the human voice as it is. It can produce sound ten times the volume ordinary phonographs!
Made by the American Victor Talking Machine Company Oak Setphon Imported by Sakai Kōseidō, Osaka
Back Cover Transcription
オークセトホン [ōkusetohon]
日本に二つしかない 世界一の大聲蓄音機
本機の特色に完全に肉聲のまゝ
普通蓄音器の十倍に發聲し得!
米國犬印ビクター蓄音器會社製
輸入元 大阪酒井公聲堂
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