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)
publisher: Engei shashin company
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
『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 Nakaza 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
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 [市川小太夫 二代目 (1902-1976)] as Benten Kozō Kikunosuke
Ichikawa Enzō [市川莚蔵 初?代目 (?-?)] as Nango Rikimaru
Nakamura Senjaku [中村扇雀 初代目 (1902-1983)] as Tadanobu Rihei
Kataoka Shūrō [片岡秀郎 (1888-1958)] as Nippon Daemon
Arashi Kakuzō [嵐玨藏 (嵐珏蔵) 五代目 (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
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
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
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
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
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
"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
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
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 shashin company
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
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)
Jitsukawa Enjaku [II] as Musashibō Benkei
left: 武藏坊辨慶 (實川延若)
Ichikawa Udanji [II] as Togashinosuke Ienao
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
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
Printing house: Ando Photography and Printing Works
Printer: Ando Kanenori
Publishing house: Kansai bungeisha (Limited Partnership Company) managed by Engei shashinsha
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
印刷所 安藤寫眞製版所
印刷人 安藤兼則
發行所 合資會社
關西文藝社經營 演藝寫眞社
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