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〔The title is frequently translated as "Sugawara no Michizane and the Secrets of Calligraphy" or variations thereof. It might more literally be translated as "A Mirror of Sugawara's Instruction by Hand."〕 is a Japanese bunraku and kabuki play jointly written by Takeda Izumo I, Takeda Izumo II, Namiki Sōsuke and Miyoshi Shōraku.〔Shōriya, Aragorō. "(Sugawara Denju Tenarai Kagami )." ''Kabuki21.com''. Accessed 4 December 2008.〕 Along with ''Yoshitsune Senbon Zakura'' and ''Kanadehon Chūshingura'', it is one of the three most famous and popular plays in the kabuki repertoire. ''Sugawara'' was first performed as a puppet play in August 1746 at the Takemoto-za in Osaka, debuting on the kabuki stage the following month in Kyoto. The Edo debut was held at the Ichimura-za the following March.〔 The play is set in the 9th century, and is based on the life of Heian period court noble and government official Sugawara no Michizane (referred to as Kan Shōjō〔The "Kan" in Kan Shōjō (菅丞相) is an alternate pronunciation of the "''Suga''" in Sugawara; "Shōjō" means, roughly, "Prime Minister." Thus, the term as a whole simply means "High Minister Sugawara."〕 in the play), who was exiled to Kyūshū when he lost favor at court and was falsely accused of conspiring to seize the throne. A fictional set of triplets named Umeōmaru, Sakuramaru, and Matsuōmaru, characters invented for the play, also play a major role, each individually proving their loyalty and service to Kan Shōjō in different scenes.〔Miyake, Shutarō. ''Kabuki Drama''. Tokyo: Japan Travel Bureau, Inc., 1971. p98.〕 The antagonist is , whose name is written with the same ''kanji'' as the historical Fujiwara no Tokihira. Like most full-length five-act kabuki plays, ''Sugawara Denju Tenarai Kagami'' is very rarely performed in full. Instead, a selection of scenes will be chosen, or a single scene will be combined with scenes from other plays, dance dramas, or other pieces to form a day's program. The most popular, and most frequently performed, scene from this play is ''Terakoya'' (寺子屋, "temple school"), the third scene of Act IV. The ''Yasui no Hama'' (Act II, second scene) and ''Kitasaga'' (Act IV, second scene) scenes have only been performed in bunraku, never yet in kabuki.〔 The ''Kurumabiki'' (Act III, first scene) scene is considered to be a paragon of the ''aragoto'' form, and of the essence of kabuki.〔"Sugawara Denju Tenarai Kagami." (Kabuki Encyclopedia ) (歌舞伎事典, ''kabuki jiten''). Japan Arts Council, 2001-2003. Accessed 4 December 2008.〕 ==Plot summary== The fullest version of ''Sugawara'' consists of twelve scenes in five acts. Though this was originally intended to be performed across the better part of a day, modes of performance have changed, and the full version would today take twice that long, due to the style and speed of current forms of acting. For this reason and others, kabuki plays are almost never performed in their entirety today, and ''Sugawara'' is no exception. The fullest standard version of any play is called ''tōshi kyōgen'', which in the case of ''Sugawara'' consists of six of the full twelve scenes. However, again as is the case with most plays, individual scenes or elements of ''Sugawara'' may be performed alone as part of a day's program of other such bits and pieces. The fundamental structure of the play is very much in keeping with that of Japanese traditional drama forms as a whole. The philosophy of ''jo-ha-kyū'' is employed throughout, as actions, scenes, acts, and the play as a whole begin slow (''jo''), then get faster (''ha''), and end quickly (''kyū''). Also, ''Sugawara'' follows the traditional five-act structure and the themes traditionally associated with particular acts. Act One begins calmly and auspiciously, including scenes at the Imperial Palace. Act Two features combat and murder. Act Three is something of a ''sewamono'' insertion into the ''jidaimono'' tale, turning away from the affairs of warriors and politics to focus on the lives of commoners. Act Four, often in other plays a ''michiyuki'' journey, metaphorically associated with a journey through hell, features a dramatic storm and an emotional journey for Kan Shōjō, who becomes enraged at the traitorous activities of Shihei, and kills himself, becoming a thunder god.〔Jones, Stanleigh H. Jr. (trans.) "Mount Tempai and Tumult in the Palace." in Brazell, Karen (ed.). ''Traditional Japanese Theater: An Anthology of Plays''. New York: Columbia University Press, 1998. pp95-111.〕 Act Five wraps up the plot quickly and returns to themes of auspiciousness. The following plot summary is based on the full twelve-scene version. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Sugawara Denju Tenarai Kagami」の詳細全文を読む スポンサード リンク
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