小劇場オペラ《出雲阿国》について About "Izumo no Okuni"
歌舞伎の始祖として知られる出雲阿国は、歌舞伎役者のみならず、芸術家にとって憧憬の存在でありながら、歴史上謎の多い人物でもありました。このオペラは、史実に基づいた作品というよりは、阿国に関するいくつもの伝説や逸話が残されているように、「阿国」という存在を題材にした一つの「創作creation」という形をとっています。阿国の恋人であったとされる傾奇者の名古屋山三郎、このオペラに登場する架空の付人である加賀菊との関わりの中で、藝の道に生きる阿国の苦悩と決意を、そして一人の芸術家として、一人の人間としての阿国の「強さ」を描きました。 阿国が日本で歌舞伎を創始したのが約1600年頃、そしてヨーロッパでフィレンツェ・カメラータがオペラというジャンルを創始したのがちょうど1600年頃。400年以上の時を経て、阿国とオペラが出会います。 傾奇者の白は、純真 傾奇者の黒は、決意 傾奇者の朱は、赤くたぎる血 どうか私の中に、そしてこの作品を観終わったあなたの中にも この赤くたぎる血が流れますように。 （脚本・演出 角直之） Izumo no Okuni, known as the founder of kabuki, was admired not only by kabuki actors but by artists of many kinds, even as she remained a person shrouded in historical mystery. Rather than presenting a work strictly grounded in historical fact, this opera takes the form of a creation inspired by the many legends and anecdotes that surround the existence of “Okuni.” Through her relationships with Nagoya Sanzaburō, a kabukimono said to have been her lover, and with Kaga Kiku, a fictional attendant who appears in this opera, the work depicts Okuni’s anguish and resolve as she lives on the path of art, as well as her “strength” as both an artist and a human being. Okuni is said to have founded kabuki in Japan around the year 1600. At almost exactly the same time, in Europe, the Florentine Camerata gave birth to the genre of opera. More than four hundred years later, Okuni and opera encounter one another here. The white of the kabukimono is innocence. The black of the kabukimono is resolve. The crimson of the kabukimono is blood, red and seething. May this seething crimson blood flow within me, and within you as well, after you have finished watching this work. (Libretto & Direction: Naoyuki Sumi)
あらすじ Story
京都へ出向いた出雲阿国と付人の加賀菊は、傾奇者として知られる名古屋山三郎と出会う。山三郎に恋慕の情を抱いた菊は、惹かれ合う阿国と山三郎を見て苦しむが、ある日山三郎が井戸右衛門討伐を命じられたことを知る。右衛門に返討ちにあい瀕死の山三郎のもとへやってきた菊は、山三郎のあとを追って自害。そこへ現れた阿国は、事の行く末を嘆くが、「自らを芸に生かす」と歌舞伎者として生きていく決意を歌う。 Izumo no Okuni and her attendant Kaga no Kiku travel to Kyoto, where they encounter Nagoya Sanzaburō, a man known as a kabukimono. Kiku develops romantic feelings for Sanzaburō and suffers as she watches Okuni and Sanzaburō become drawn to one another. One day, she learns that Sanzaburō has been ordered to hunt down Idōemon. After Sanzaburō is struck down by Idōemon and left mortally wounded, Kiku comes to his side and takes her own life, choosing to follow him in death. Okuni then appears and laments the tragic turn of events, but ultimately sings of her resolve to “devote herself to art,” choosing to live on as a kabukimono.
登場人物 Character
出雲阿国
いずものおくに
Izumo no Okuni
出雲国杵築中村の里の鍛冶中村三右衛門の娘。出雲大社の巫女となり、文禄年間に出雲大社勧進のため「ややこ踊り」で諸国を巡回して評判になった。山三郎と知り合った後に歌舞伎踊りを創始し、歌舞伎の始祖となる。 She was the daughter of Nakamura San’uemon, a blacksmith of the Nakamura district in Kizuki Village, Izumo Province. She became a shrine maiden at Izumo Taisha, and during the Bunroku era she gained widespread renown by traveling throughout the provinces performing the Yayako-odori to raise funds for the shrine. After becoming acquainted with Nagoya Sanzaburō, she went on to create kabuki-odori, and is remembered as the founder of kabuki.
名古屋 山三郎
なごや さんざぶろう
Nagoya Sanzaburo
尾張国名古屋高久の次男。15歳で蒲生氏郷に見出され、陸奥名生城攻略や九戸政実の乱で一番槍の功を立てた後、森忠政の家臣となった。見目の麗しさもさることながら、茶道や和歌に関しても見識が深い傾奇者。 He was the second son of a family from Takahisa in Nagoya, Owari Province. At the age of fifteen, he was discovered by Gamō Ujisato, and after distinguishing himself by being the first to charge in the capture of Naoe Castle in Mutsu Province and in the Kunohe Masazane Rebellion, he entered the service of Mori Tadamasa. Renowned not only for his striking good looks, he was also a kabukimono of refined taste, possessing deep knowledge of the tea ceremony and classical Japanese poetry (waka).
加賀菊
かがのきく
Kaga no Kiku
阿国のもとで芸の修業をしながら、身の回りの世話をする付人。一座の中でも信頼が厚く、阿国にとっては妹のような存在。 She serves as an attendant to Okuni, caring for her daily needs while training in the performing arts under her guidance. Highly trusted within the troupe, she is like a younger sister to Okuni.
キャスト・スタッフ Team
ワークショップ Workshop
映像 Video
すべての動画
CamerataProjectオペラ《出雲阿国》(2017)
小劇場オペラ《出雲阿国》千葉公演 TRAILER
小劇場オペラ《出雲阿国》TRAILER
CamerataProject
CamerataProject（カメラータ・プロジェクト）は、「オペラのさらなる可能性の追求」を掲げ、2016年3月にスタートした日本のオペラ関連プロジェクトです。単なる上演にとどまらず、新作オペラ（日本語オペラ《出雲阿国》など）の創作・上演、現代音楽作品の紹介、舞台芸術研究、教育活動など、多角的な実践を通してオペラの魅力を探求・発信してきました。演出家、作曲家、演奏家、美術家、研究者など、多様な分野の専門家が参加し、小劇場オペラから大規模公演まで、幅広いスケールのプロジェクトを展開しています。 活動においては、「プロジェクト」という柔軟な形式を採り、オペラを一つの完成された様式としてではなく、音楽・身体・言葉・空間が交差する総合的な表現として捉え直してきました。日本語オペラの再演もその重要な取り組みの一つですが、それに限らず、分野横断的な協働や、劇場にとどまらない上演、公演・配信・ワークショップなどを通して、オペラに触れる入口を多様化することを重視しています。より多くの人にオペラを届け、その可能性を現代にひらかれたものとして広げていくことが、カメラータ・プロジェクトの目指す姿です。 CamerataProject is a Japan-based opera project launched in March 2016 with the aim of exploring the further possibilities of opera. Going beyond conventional performance practices, the project has engaged in a wide range of activities, including the creation and presentation of new operas (such as the Japanese-language opera Izumo no Okuni), the introduction of contemporary music works, research into performing arts, and educational initiatives. Bringing together directors, composers, performers, visual artists, and researchers from diverse fields, CamerataProject has developed projects on a broad range of scales, from small-theatre operas to large-scale productions. Working in a flexible “project” format, CamerataProject approaches opera not as a fixed or completed form, but as a comprehensive mode of expression in which music, the body, language, and space intersect. While the revival of Japanese-language operas is one important strand of its activities, the project also places strong emphasis on interdisciplinary collaboration, performances beyond traditional theatre settings, and public engagement through performances, streaming, and workshops. By diversifying the points of entry through which audiences can encounter opera, CamerataProject seeks to bring this art form to a wider public and to expand its possibilities as a contemporary, open, and evolving practice.