Engei shashin

Volume 3, 1924

Selected Pages from Engei shashin Volume 3, Number 1, January 1924

IHL Cat. #2740

click on image to enlarge

Engei shashin Volume 3, Number 1

演藝冩眞 第三年一第号

cover art (lithograph):

Sanbasō dancer

artist: Koshō Nobukata 古荘信方, active 1896-1926

signed: no signature; sealed: 信方 Nobukata within white outlined rectangular cartouche

published: January 1, Taishō 13 (1924)

publisher: Kansai bungeisha, managed by Engei shashinsha

大正十年一月一日 發行

發賣所 關西文藝社經營 演藝寫眞社

overall size: approx. 8 9/16 x 11 7/8 in. (21.8 x 30.1 cm)

Preface Translation

A Happy New Year!

The golden fukujusō flowers [Adonis flowers] begin to bloom and the warblers are captivated by the color and fragrance of the red plum blossoms, their chirping sounds are delightful. On New Year's Day, kadomatsu decorations line up, the shichi-go-san ornaments are displayed, and the sounds of hanetsuki [shuttlecock] and tori-oi [female street musician], with the low voices of manzai [a comedic form] performers, rise to laughter in the background. Truly, the joy of early spring is celebrated across Japan, in every corner of the land. Everyone shares toso wine [rice wine steeped with herbs] in celebration, unchanged in this era of peace, as we watch the Hinomaru flag, shining in the morning sun, waving in the wind, symbolizing the prosperity of the reign.

The Engei Shashin magazine, which has received your continued patronage, has swiftly passed its second year and entered its third. We are delighted to see that our esteemed readers remain loyal, and we have received many New Year subscriptions as in previous years. The joy we feel when receiving these subscriptions is like the long-handled choshi pouring sake in a traditional san-san-kudo ceremony, bringing immense happiness. The editor's desk is piled high with greeting cards, resembling the peaks of Mount Fuji.

Looking forward to the New Year, we are proud to present a special feature on the timeless tale of Chūshingura, deeply rooted in the spirit of bushidō, which continues to bloom in our beloved Japan. From the grand opening act to the dramatic climax every scene has been faithfully reproduced with unparalleled precision using vivid offset printing. We will include these scenes, one print each month, inserted into our magazine. Beyond that, the colorful world of kabuki theater awaits, bridging east and west. Not only the famous eighteen acts [jūhachiban] performed by actors from both sides of the country but also films that captivate young men, ladies, and children, from the producers Shōchiku and Teikine to Western stars like "fatty" [Roscoe Fatty Arbuckle], Charlie Chaplin, Ruth Rolandd and Mary Pickford. With Anna Pavlova’s glamorous dance routines and the humorous Soga Monogatari by the Soganoya troupe we have something to offer everyone.

We deeply appreciate the tireless efforts of our staff, who have worked like a well-oiled machine to bring these to you, our valued members, and we extend our heartfelt thanks to all of you for your continued support.

And now, we conclude with New Year’s greetings.

Preface wishing readers a Happy New Year, thanking them for their loyalty, summarizing the content of the coming year including the monthly insertion of one of the twelve scenes making up Chūshingura, printed "using vivid offset printing."

(See above for a loose translation of the entire preface.)

Lithographic reproduction (a foldout), an offset press printing. Records of the Valiant and Loyal Retainers, Act I, 忠雄義臣録 第壱, 1847-1848 by Utagawa Kunisada (Toyokuni III) (1786-1865)

sheet: approx. 10 1/4 x 14 5/8 in. (26 x 37.1 cm)

image: approx. 9 x 13 3/4 in. (22.9 x 34.9 cm)

Lithographic reproduction of the 1853 woodblock print Yasuhide 康秀 from Six Immortal Poets, by Utagawa Hirosada (1810-1864)

京都南座顏見世興行 『安宅關』 

Kyoto Minami-za face-showing (kaomise) performance of Ataka no seki (The Ataka barrier)

市川中車の武藏坊辨慶

Ichikawa Chūsha [VII] as Musashibō Benkei

新町會十五周年紀念演藝會

『三人片輪』

新町演舞に於て

Shinmachi-kai 15th Anniversary Commemorative Performance of San'nin katawa* (The three oddities -or- The handicapped three) at Osaka's Shinbashi Enbujō

林長三郎の躄の太郎吉 

Hayashi Chōsaburō [1893-1966] as Tarokichi the cripple

中村魁車の唖のおき〉

Nakamura Kaisha [1875-1945] as Okiku the mute

市川右團次の盲人半之亟

Ichikawa Udanji [II (1881-1936)] as blind Hanzōji

*see "Summary of the Play: San'nin katawa"

*Summary of the Play: San'nin katawa

Source: Bulletin of the National Institute of Multimedia Education, No. 12, 1995, "View of Deafness: On the Socially Constructed Meanings of Deafness in Japan, Shigeyuki Tsuzuki and Angela Miyuki Nonaka, p. 234-235.

A kindly rich man decides to open his home and employ disabled persons. He hangs a sign outside his door announcing his intentions, and three men (one at a time) promptly appear to take advantage of his offer. These three men, who appear to be blind/mo, crippled (in the leg)/izari, and deaf/oshi, are really con men who, having lost their homes, savings, etc. at gambling, are looking for a way to make ends meet.

After an extended series of comical questions and answers, in which the three con men demonstrate the nature of their handicaps, the rich man eventually agrees to allow all three to work for him, and he assigns each of them a job to do right away, for the rich man is about to depart on a trip. The deaf man, supposedly skillful with a spear, is assigned the task of guarding the master's money. The crippled man is assigned the job guarding the sake warehouse, and the blind man is given no specific task.

The rich man takes his leave, but as soon as he exits, the three men stop pretending and begin drinking, laughing, singing, and dancing about. The master unexpectedly returns home, however, and in their hurry to resume their roles, the three con men forget which disability they originally claimed to have. Having exposed their fraud, the game is up.

中座 曾我酒家劇 師走狂言

求の前後』

Osaka Naka-za Theater: Soganoya* year-end performance of Yōkyū no zengo? - Before and after the demands?

社長夫人菊子 (大磯)

Company President's Wife Kikuko (Ōiso)

[Soganoya Ōiso 曾我廼家大磯]

 社長積川清 (小次郎)

Company President Sekikawa Kiyoshi (Kojirō)

[Soganoya Kojirō 曾我廼家小次郎 )

職長本田秀吉 (五郎)

Foreman Honda Hideyoshi (Gorō)

[Soganoya Gorō 曾我廼家五郎 (1877-1948)]

職工山本 (蝶六)

Worker Yamamoto (Chōroku)

[Soganoya Chōroku 曽我廼家五郎劇]

*see "Soganoya Comedy Troupe"

Summary of the play (right margin):

Before and After the Demands

At a certain zinc company factory, due to the losses incurred, the workers' night shift allowance was not paid. As a result, dozens of workers demanded payment and caused an uproar. The company, lacking funds, was unable to easily meet the workers' demands, which only made the commotion grow larger. However, the situation took an unexpected turn when the sister of foreman Hideyoshi was seduced by President Sekikawa and given a gold watch. Hideyoshi went to the president's residence and convinced the president's wife, Kikuko, to buy the watch from him. The money from this sale was then used to pay the night shift allowances for many of the workers. . . This is a satirical comedy depicting a contemporary situation where the pure silence of an innocent young woman resolves the uproar caused by dozens of men.

帝劇第七期生女優の兒童劇 メンバーサン

Members of the Teigeki (Imperial Theater)

7th Class Honorary Children's Theater

Left margin commentary

The children's theater, organized by the actresses of the Imperial Theater's seventh class, was strongly encouraged under the guidance of Dr. Tsubouchi. However, since the Great Earthquake, prospects for performances in Tokyo diminished, so they finally took their efforts to Kansai to promote it there. Their first performance was held on November 1 at the Osaka Central Public Hall.

大阪樂天地十二月興行 『想夫憐』 高尾山橋の塲

Osaka Rakutenchi, December performance: The scene at Mount Takao bridge from the popular shinpa [shimpa] play Sōfuren (Sympathy of mutual love)

木下の雅子 Kinoshita as Masako

[Kinoshita Kichinosuke 木下吉之助]

河原のお玉 Kawara as Otama

[Kawara Ichimatsu 河原市松 ]

藤山の岩崎一蒼  Fujiyama as Iwasaki Ichisō 

[possibly Fujiyama Sōnosuke 藤山総之介] 

大山の中野清助 Ōyama as Nakano Kiyosuke

高橋の小泉修藤 Takahashi as Koizumi Shūzō

[Takahashi Yoshinobu 高橋義信]

*see "Summary of the Play: Sōfuren" The text in the left margin tells us the play is