Onoe Kikugoro VI: The Stage of Realism and Elegance (1885-1949)

Onoe Kikugoro VI: The Stage of Realism and Elegance (1885-1949)

Onoe Kikugoro VI was a Japanese kabuki actor active from the Meiji era to the early Showa era (1885-1912).

His artistic style could be summed up in one word: "realism and stylishness. He wove realistic human emotions and subtleties into the gorgeous beauty of traditional kabuki, showing the audience a vivid picture of human beings. In particular, he demonstrated his true value in plays that depicted the daily lives of the common people of Edo, known as "sewamono.

His representative works include "Benten Koso," "Yohanashi Jou Ukina Yokogushi," and "Naka Nagaya Ume Kagatobi. In each of his plays, he was praised as a virtuoso actor for his performances that went beyond mere technique and brought to life the inner life of the roles he played.

Kichiemon VI also had no shortage of funny anecdotes from behind the scenes.
For example, in one play in which he performed with Kichiemon VI, when playing the role of a masseur, he pretended to be "hitting" Kichiemon on stage but in fact kept tickling him. Kichiemon, who had been patient at first, finally became impatient and shouted on stage.

Customer, Kichiemon VI is tickling me!

This incident is a true testament to the stylish temperament of Kichiemon VI, who transformed the stage into a playground as well.

His free and unrestrained playfulness on stage also manifested itself in more daring ways.
For example, in "Blind Nagaya Ume Kagatobi," when he is captured by the enemy, he disregards the script and seriously resists. The surrounding actors rushed to meet him, and the scene turned into an unscheduled fight-like performance. The audience cheered loudly, but backstage some were heard to grumble, "Cut it out!

In "Benten Kosho," he intentionally took off his sandals during a scene in which he is trying to escape, adding to the tension of the scene. For him, a play is not something that follows a predetermined pattern, but something that is always alive and moving.

His relationships with his students also reveal his humanity.
He did not teach detailed techniques in training, but encouraged his students to "try it more freely. However, he had a strict standard that even in the midst of freedom, there must be a core of artistry. In particular, Koshiro Matsumoto VII (Shirohara) and Ebizo Ichikawa XI (later Danjuro XII), who later became famous actors, aspired to a Kabuki style that embodied realism and elegance, taking to heart the teachings of Koshiro VI.

In the rehearsal hall, he would joke and laugh at his disciples who were down in the dumps, but on stage he would not allow any compromise.
He was both strict and gentle, stylish and compassionate. He was a master of both.

Onoe Kikugoro VI passed away in 1949 at the age of 64.
Even after his death, however, the spirit and art of Kikugoro VI were passed on to his disciples, and to this day he continues to be so prominent in the Kabuki world that when the name "Kikugoro VI" is mentioned, this name is the first one that comes to mind.

Kikugoro VI was the name of a man who transcended technique, transcended form, and brought a human being to the stage.