News Discussion

Kokuho Shines Light on Kabuki's Outsiders

The box-office hit Kokuho ("National Treasure") explores the kabuki world's enduring tension between raw talent and inherited bloodlines. It follows Kikuo, born into a yakuza family but taken in by a prestigious kabuki household, where he and Shunsuke, the family heir, both hone their talents. Since its release, it has become the second-highest earning live-action Japanese film ever and has drawn attention to actors outside the hereditary guild.

Earlier in August, graduates of the National Theatre training institute performed to near-capacity crowds at Tokyo's Asakusa Public Hall. The annual performance, which ended on August 17, showcases only actors without kabuki lineage, and twenty such young performers took part. The question now is: where will the next Kikuo emerge?

Among them was 22-year-old Choya Nakamura shone in the role of Minami Yohei, who graduated from the National Theatre training institute and now trains under Living National Treasure Nakamura Karoku. After his major stage appearance, he remarked, "Thanks to my master and everyone's support, I was able to perform the role. I'll work hard so this won't be my last chance.“

The film's success has also boosted ticket sales at Tokyo's Kabukiza Theatre, the sacred hall of kabuki. Shochiku, the theatre operator, reported, "Since the film's June release, ticket sales have climbed steadily. We've also seen many posts from people saying they now want to experience real kabuki, which shows just how strong the response has been.“

Aspiring kabuki actors from ordinary families have two main paths: begin as a child actor and apprentice directly under a senior star, or train at the National Theatre training institute before seeking apprenticeship. Living National Treasure Bando Tamasaburo took the first path as disciple of the 14th Morita Kanya at just age six before being adopted into the family. By contrast, graduates of the training institute include Ichikawa Emiya. Ichikawa later starred in numerous productions alongside his master, second-generation Ichikawa En'ō.

The National Theatre has trained kabuki actors since 1970. As of April 2024, graduates accounted for 99 of Japan's 293 active kabuki actors. Currently, four trainees from the 29th and 30th classes are enrolled and study daily from 10 AM to 6 PM under leading instructors such as Nakamura Manju. Over two years, they learn performance, chanting, and gidayu, to prepare. Applicants must be under 23, and tuition is free. Recruitment for the next class begins in October.

Beginning September 2 at Kyoto's Minami-za Theatre, Ichikawa Emiya will play Fujiko Mine in Lupin the Third. Born into an ordinary family, Emiya entered the National Theatre Institute and later apprenticed under Ichikawa En’ō. "For actors from kabuki families, audiences see both the role and the actor himself," Emiya explained. Without that background, he said, "I have to let the role stand on its own.

Emiya entered the institute right after high school. Each day was filled with first-time experiences with first-class teachers — "sword fights and stage combat learned through constant repetition from morning until night," he recalled. After graduation, he began with minor parts, "even playing the leg of a horse," before being promoted. He thought of quitting three times, but after discovering "the joy of truly becoming the role," he could never walk away. To aspiring kabuki artists from ordinary families, Emiya notes: "It's a demanding world, but full of stimulation and never boring." He added, "I am here today thanks to many great teachers.“

Today, private company Shochiku and the National Theatre sustain kabuki, giving it its dual identity: preserving centuries-old traditions while thriving as commercial entertainment, producing new works and modern-day stars. Heirs and adoptees still dominate, but institute graduates now make up about 30% of actors, and in kabuki music (takemoto), 90%, ensuring "outsider" talent continues breathing fresh life into a hereditary world.

Kabuki was paused during the pandemic, but this year, Shochiku has staged a string of hits, including the succession naming ceremony for Kikugoro and Kikunosuke at Kabukiza in May, stagings of three great classics, and the premiere of the new kabuki Phoenix. Shochiku has also adapted Lupin the Third and collaborated with the popular video game Touken Ranbu. These works are drawing foreign visitors, young people, and newcomers eager to experience kabuki in new forms.

1. 1. Inherit　（地位・財産・特徴を）受け継ぐ
   I think I inherited my ears and my nose from my mother.
2. 2. apprentice　弟子入りする、見習いとして学ぶ
   My brother apprenticed under a master carpenter for two years.
3. 3. tuition　授業料
   The tuition at the university had doubled in only five years.
4. 4. sustain　支える、維持する
   Hard work and the support of good friends sustain her.
5. 5. thrive　繁栄する、活躍する
   Most artists thrive under a combination of discipline and freedom.

1. 1. What is the focus of the popular film Kokuho?
2. 2. How can people from normal families become kabuki actors?
3. 3. Describe what the training is like at the National Theatre Institute.
4. 4. Do you think it matters if someone is born into a kabuki family? Why or why not?
5. 5. What makes kabuki such a special and highly respected art form?

才能か、血筋か－という歌舞伎界の相克を描く映画「国宝」の興行収入が110億円を突破し、吉沢亮さん演じる主人公、喜久雄のような「門閥外」の歌舞伎俳優への関心が高まっている。今月、東京・浅草公会堂で行われた国立劇場養成所の歌舞伎俳優研修修了者らによる公演は、4日間の興行がほぼ満席。〝未来の喜久雄〟はどのように生まれるのか。

浅草公会堂で17日に千秋楽を迎えた「稚魚の会・歌舞伎会合同公演」は、歌舞伎の血筋を引かない門閥外の俳優だけが出演する毎年恒例の舞台だ。今年は義太夫狂言「双蝶々曲輪（ふたつちょうちょうくるわ）日記　引窓」と舞踊「棒しばり」「勢獅子」が上演され、一般家庭出身、平均年齢28・7歳の計20人が出演した。

「引窓」の南与兵衛役に抜擢された中村蝶也さん（22）は、色白の美青年。養成所出身で、現在は人間国宝、中村歌六さん門下で学ぶ。大舞台を終え、「師匠と皆さんのお力をお借りし勤められた。今回が最後にならないよう頑張りたい」と表情を引き締めた。

終演後、劇場ロビーは出演者を囲むファンであふれ、40代の会社員女性は「普段は（脇役で）声を聞けない俳優に、実力があると実感した」と満足そうに話した。

映画のヒットは歌舞伎の殿堂、東京・歌舞伎座にも波及。公開された6月以降、運営する松竹は「日に日にチケット販売実績が上がった」「本物の歌舞伎を見たくなったとの投稿も多数みられ、反響の大きさを認識している」としている。

今年の募集は10月から。

一般家庭から歌舞伎俳優になるルートは、①子役などを経て幹部俳優に直接弟子入り②国立劇場養成所の研修を経て、幹部に弟子入り―の2つに大別される。

人間国宝の坂東玉三郎さんは前者で、6歳で十四代目守田勘弥に弟子入りし、後に養子となった。映画の喜久雄もこのパターンだ。一方、養成所出身者には、スーパー歌舞伎「ヤマトタケル」などで師匠、二代目市川猿翁（えんおう）の相手役を数々演じた市川笑也（えみや）さんらがいる。

才能か、血筋か－という歌舞伎界の相克を描く映画「国宝」の興行収入が110億円を突破し、吉沢亮さん演じる主人公、喜久雄のような「門閥外」の歌舞伎俳優への関心が高まっている。今月、東京・浅草公会堂で行われた国立劇場養成所の歌舞伎俳優研修修了者らによる公演は、4日間の興行がほぼ満席。〝未来の喜久雄〟はどのように生まれるのか。

浅草公会堂で17日に千秋楽を迎えた「稚魚の会・歌舞伎会合同公演」は、歌舞伎の血筋を引かない門閥外の俳優だけが出演する毎年恒例の舞台だ。今年は義太夫狂言「双蝶々曲輪（ふたつちょうちょうくるわ）日記　引窓」と舞踊「棒しばり」「勢獅子」が上演され、一般家庭出身、平均年齢28・7歳の計20人が出演した。

「引窓」の南与兵衛役に抜擢された中村蝶也さん（22）は、色白の美青年。養成所出身で、現在は人間国宝、中村歌六さん門下で学ぶ。大舞台を終え、「師匠と皆さんのお力をお借りし勤められた。今回が最後にならないよう頑張りたい」と表情を引き締めた。

終演後、劇場ロビーは出演者を囲むファンであふれ、40代の会社員女性は「普段は（脇役で）声を聞けない俳優に、実力があると実感した」と満足そうに話した。

映画のヒットは歌舞伎の殿堂、東京・歌舞伎座にも波及。公開された6月以降、運営する松竹は「日に日にチケット販売実績が上がった」「本物の歌舞伎を見たくなったとの投稿も多数みられ、反響の大きさを認識している」としている。

今年の募集は10月から。

一般家庭から歌舞伎俳優になるルートは、①子役などを経て幹部俳優に直接弟子入り②国立劇場養成所の研修を経て、幹部に弟子入り―の2つに大別される。

人間国宝の坂東玉三郎さんは前者で、6歳で十四代目守田勘弥に弟子入りし、後に養子となった。映画の喜久雄もこのパターンだ。一方、養成所出身者には、スーパー歌舞伎「ヤマトタケル」などで師匠、二代目市川猿翁（えんおう）の相手役を数々演じた市川笑也（えみや）さんらがいる。

俳優は市川團十郎、尾上菊五郎ら代々名跡を受け継ぐ家の息子や養子のほか、国立劇場養成所出身者が3割。竹本（歌舞伎音楽）では養成所出身者が9割を占め、地方を含む数多くの舞台を下支えする。門閥外の人材の活躍が、梨園に新風を吹き込む役割も果たす。

興行はコロナ禍で他の舞台芸術と同様に一時中止を余儀なくされたが、松竹は今年、創業130周年記念として全国で話題作を上演。東京・歌舞伎座で5月から始まった菊五郎・菊之助襲名披露興行が各地で続くほか、三大名作の通し上演、新作歌舞伎「火の鳥」も話題に。さらにアニメのルパン三世を歌舞伎化した「流白浪燦星（ルパンさんせい）」、ゲーム「刀剣乱舞」とのコラボなど、外国人や若者ら新たな観客層も取り込む。