is a mid-Edo puppet theatre (jà Âruri) play that was adapted into the kabuki repertoire. It was jointly written by Takeda Izumo I, Takeda Izumo II, Namiki Sà Âsuke and Miyoshi Shà Âraku. Along with Yoshitsune Senbon Zakura and Kanadehon Chà «shingura, 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 Shà Âjà  in the play), who was exiled to Kyushu when he lost favor at court and was falsely accused of conspiring to seize the throne. A fictional set of triplets named Umeà Âmaru, Sakuramaru, and Matsuà Âmaru, characters invented for the play, also play a major role, each individually proving their loyalty and service to Kan Shà Âjà  in different scenes. The antagonist is , whose name is written with the same kanji as the historical Fujiwara no Tokihira of Fujiwara clan.
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 ("temple school"), the third scene of Act IV. The Kurumabiki (Act III, first scene) scene is considered to be a paragon of the aragoto form, and of the essence of kabuki.
The play was brought to Europe by the early 20th century and translated into French and German; it was the basis for Felix Weingartner's opera Die Dorfschule, as well as an early work by Carl Orff.
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 tà Âshi kyà Âgen, 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.
Two of the scenes, Yasui no Hama (Act II, second scene) and Kitasaga (Act IV, second scene), have only been performed in bunraku, never yet in kabuki.
The last time Sugawara Denju Tenarai Kagami was performed in its entirety (the ten kabuki scenes) was in 1966 at the National Theatre, Tokyo. The full length performance was divided in to two programs, the first one in November (from Act I to scene I of Act II) and the second one in December (scene I of Act II to Act V).
From those ten scenes, the six that are still performed regularly (Kamo Zutsumi, Hippô Denju, Dômyôji, Kurumabiki, Ga no Iwai and Terakoya). This is the tà Âshi kyà Âgen of Sugawara Denju Tenarai Kagami.
The only performance after World War II of the other four scenes (ÃÂuchi, Michiyuki Kotoba no Amaikai, Tenpaizan and ÃÂuchi Tenpen) was that of 1966, with the exception of ÃÂuchi, which was performed again at the National Theatre in 1981.
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-kyà « is employed throughout, as actions, scenes, acts, and the play as a whole begin slow (jo), then get faster (ha), and end quickly (kyà «). 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 Shà Âjà Â. Shà Âjà  becomes enraged at the traitorous activities of Shihei and kills himself, becoming a thunder god. 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. The characters of Sakuramaru, Umeà Âmaru, and Matsuà Âmaru are triplets who have been the beneficiaries of Kan Shà Âjà Â's favor in the past, having been placed as retainers to court officials.
The play opens as an envoy from China arrives to paint a portrait of the emperor. The emperor is sick, however, and so a stand-in needs to be chosen; Shihei volunteers himself, an indication or reflection of his own lofty goals, but at the suggestion of Kan Shà Âjà  and the decision of the emperor, Prince Tokiyo is chosen. As Tokiyo's love, Kariya, is the adopted daughter of Kan Shà Âjà Â, Shihei sees this as favoritism, and is disturbed. The emperor also orders Kan Shà Âjà  to pass on his secrets of calligraphy to a disciple of his choice.
The second scene features a meeting between Prince Tokiyo and Kariya, arranged by Sakuramaru. Kariya being a commoner, only adopted into the world of the imperial court, their love is taboo. When the meeting is discovered by one of Shihei's agents, the couple are forced to flee and hide, and Sakuramaru is disgraced.
Kan Shà Âjà  passes on his secrets to Genzà Â, a former disciple of his who had been banished from the court after falling in love with a lady-in-waiting named Tonami. Kan Shà Âjà  is later called before the emperor, but loses his hat, an ill omen. He is accused by Shihei of plotting, through the marriage of Kariya to Tokiyo, to seize power, and is subsequently exiled to Dazaifu. Genzà  and Tonami, with the help of Umeà Âmaru, take Kan Shà Âjà Â's son, Kan Shà «sai, with them to their small school in the provinces, in order to keep him safe from Shihei and his schemes.
The second act takes place at the Buddhist temple Dà Âmyà Â-ji, where Kan Shà Âjà  waits for his escort to Dazaifu, and where Kariya stays with her older sister Tatsuta. Kariya is scolded and beaten by her mother, Kakuju, who blames her affair with Prince Tokiyo for the accusations against Kan Shà Âjà Â, her father, and for his exile.
Meanwhile, Sukune Tarà  and his father Haji no Hyà Âe, who are in service to Shihei, prepare to assassinate Kan Shà Âjà Â. The minister's escort is meant to arrive at daybreak, and so his arrival will be signaled by a rooster's crow. Tarà  and Hyà Âe kill Tatsuta, Tarà Â's wife, and throw her body into a nearby pond; they hold a rooster over the corpse, and its crows, as Japanese superstition holds it would. The false escort prepared by Tarà  and Hyà Âe to take Kan Shà Âjà  away thus leaves with his passenger.
Kakuju, discovering her daughter's body, and realizing what has happened, attacks and stabs Tarà Â. The real escort then arrives for Kan Shà Âjà Â, learns that the minister already left in a different palanquin, and prepares to set off to find him. Just then, the false escort returns, having realized he had been tricked with a wooden statue of the minister; several times in this scene, Kan Shà Âjà  demonstrates the mysterious ability to transform into, or otherwise replace himself with, a wooden statue. He emerges from the palanquin, and the false escort is arrested and Hyà Âe executed, before the minister leaves with the real escort, to a tearful farewell, bound for his exile in Dazaifu.
As is standard in five-act bunraku and kabuki plays, the middle act departs from the main characters, the nobility and politics, focusing on a different set of characters, usually commoners. The third act of Sugawara features triplets, Umeà Âmaru, Sakuramaru, and Matsuà Âmaru, each a loyal retainer to one of the play's chief characters (Kan Shà Âjà Â, Prince Tokiyo, and Shihei, respectively). The triplets each wear a symbol on their sleeve to identify them: Ume, Sakura, and Matsu are the Japanese words for plum blossom, cherry blossom, and pine respectively. They are also distinguished by their makeup and acting style. Sakuramaru is a romantic and gentle type, in the wagoto fashion, Umeà Âmaru is a hero in aragoto style, with bright red face makeup, and Matsuà Âmaru is a villain, his face painted with blue lines.
This famous scene, "a classic example of Kabuki's stylized beauty", takes place in front of the Yoshida Shrine in Kyoto. The scene opens as Umeà Âmaru and Sakuramaru try to stop Shihei's carriage, and are confronted by Matsuà Âmaru, a member of the entourage. As the pair begin to unlash the oxen and tear apart the carriage, Shihei emerges, his blue face makeup marking him as a villain. He glares at them malevolently, halting their attack.
In the second scene, the triplets travel to the home of their father, Kan Shà Âjà Â's aged retainer Shiradayà «, in Sata Village, for the festive celebration of his 70th birthday. The three soon begin fighting but, with no swords at hand, attack one another with bales of hay. Though only fighting with hay and other common objects, the fight scene is executed in the same style and manner as the greatest of aragoto fight scenes. In the course of the fight, a branch from Kan Shà Âjà Â's favorite cherry tree (sakura) is snapped off. Shiradayà « notices this, and points it out as an omen, representing Sakuramaru's responsibility for Kan Shà Âjà Â's downfall, as he was the one who helped bring Tokiyo and Kariya together. Kan Shà Âjà  arrives and, together with Shiradayà «, chastise Matsuà Âmaru and banish him from their service; Sakuramaru then emerges and announces his decision to commit ritual suicide, in order to atone for his wrongdoing. Shiradayà « strikes a bell as his son dies.
The first scene of Act IV takes place at Kan Shà Âjà Â's mansion in Dazaifu, where he has been exiled. He reminisces about his favorite plum tree (ume), which suddenly appears there before him, having uprooted itself and flown to Dazaifu from the capital. Kan Shà Âjà  and Shiradayà « are admiring the blossoms when Umeà Âmaru arrives with a captive: Washizuka Heima, a minion of Shihei's.
Heima, tied up with rope, reveals Shihei's plot to seize power, describing each detail and he bemoans his fate, having failed in his mission to kill Kan Shà Âjà Â, and having been captured. Hearing of Shihei's treachery, Kan Shà Âjà  becomes enraged, breaking off a branch from the plum tree and striking off Heima's head with it, as if it were a sword. He asks Shiradayà « and Umeà Âmaru to hurry to the capital, to warn the emperor of Shihei's plans. Knowing that he cannot return to the capital himself, at least not in body, having been formally exiled, he vows to return as an angry spirit. To that end, he vows to journey to the summit of Mount Tenpai, where he will engage in austere disciplines, swear oaths to the gods, and become a ghostly lord of thunders. As he speaks, a storm rises up. His retainers grasp at his sleeves and try to stop him, but he throws them off, and flies off into the sky, already beginning to transform into a thunder spirit.
This scene is among the most popular, and most frequently performed, scenes in the play. It takes place at the provincial school run by Genzà  and Tonami, where they are watching over the young Kan Shà «sai. Shihei suspects that this is where the minister's son is being hidden, and sends Matsuà Âmaru there to kill the boy and return with his head; among all of Shihei's retainers, only Matsuà Âmaru is trusted to identify the boy's head. In this scene, Matsuà Âmaru is dressed in a dark kimono with snow and pine motifs, his hair wild and busy, a sign of the tragedy which is to come, and of the illness which he claims in order to quit Shihei's service.
Seeking to atone for his past wrongdoings, Matsuà Âmaru plots to save Kan Shà «sai's life, at the cost of that of his own son, Kotarà Â. He sends Kotarà  to the school, where Genzà  and Tonami decide he is the only one at the school whose head could pass for Kan Shà «sai's. This scene is a classic example of the conflict between giri (honor, fealty) and ninjà  (human compassion), as Genzà  and Tonami sacrifice an innocent boy to save their master's son. When the sound of Genzà Â's sword striking off Kotarà Â's head is heard from offstage, Matsuà Âmaru strikes a distinctive Matsuà  mie pose, expressing his suppressed anguish. He then departs with the head in a box, to identify it for Shihei as Kan Shà «sai's head, pretending to have done the deed and thus saving Kan Shà «sai's life.
Matsuà Âmaru's wife, Chiyo, arrives at the school to pick up her son, and Genzà  and Tonami fear for a moment that they may have to kill her too, rather than reveal their deception. But Matsuà Âmaru himself arrives, and explains to all involved that the boy killed was his own son, and that he did this intentionally, in order to make up for his past transgressions against Kan Shà Âjà  and the Court, and his involvement in Shihei's schemes.
The scene has been the basis of two operas, both in German: in 1913 as Gisei: Das Opfer by Carl Orff, who freely adapted the translation by Karl Florenz (premiere 30 January 2010 in Stuttgart), and in 1918 as Die Dorfschule by Felix Weingartner.
The single scene of Act V is only rarely performed in bunraku, and never in kabuki. It takes place in the Imperial Palace in Kyoto where a storm rages. In the aftermath of Kan Shà Âjà Â's death, discussions are held regarding the succession of Kan Shà «sai, his son, to the head of the Sugawara clan. Though the clan is currently in disgrace, Prince Tokiyo argues that the storm must be caused by Kan Shà Âjà Â's angry spirit, and that acknowledging his innocence and restoring the honor of his family by making Shà «sai its head would appease him.
Shihei grabs Kan Shà «sai, threatening to kill him, and declaring that nothing, not even a thunder god, will stand in the way of him overthrowing the emperor and seizing power for himself. Bolts of lightning slay his minions, as Shihei stands firm. The young Kan Shà «sai slips away as the ghosts of Sakuramaru and his wife appear, and attack Shihei. The Buddhist priest Hosshà  rubs his rosaries and chants prayers to drive the ghosts off, but stops when he learns of Shihei's evil schemes. The ghosts attack Shihei once again, with sakura branches, and kill him. The storm dispels and the ghosts depart.
The play ends with the priest Hosshà  declaring Kan Shà «sai the successor to the Sugawara house, and the posthumous conferral upon Kan Shà Âjà  of the Senior First Court Rank. He declares that a shrine should be constructed at Kitano to honor the minister, who shall now be worshipped as a god (kami) of scholarship.