NHK Studio Park Kara Konnichiwa - december, 2005:
Ichikawa Ebizo XI (Ichikawa Shinnosuke VII)
Started by Betsy Hayashi · 13 Oct 2004 · 1,490 replies
Artiste Discussion
Awwwwwwww, so cute !!!!! :inlove:. Also from NHK Studio Park:
More of "Deguchi no nai umi" from Yahoo! Movies:
Betsy Hayashi wrote:
He was a charming baby, but having a good-looking parents( as I can see), it's normal... Thanks, Betsy-san, for these interestnig photos!!!
maman_12003 wrote:
He was a charming baby, but having a good-looking parents( as I can see), it's normal... Thanks, Betsy-san, for these interestnig photos!!!
You're welcome !!!! He always had good looks, even when he was only a little baby. Yeah, the good looks as his parents really helped a lot to that.
7 year-old Ebizo, making his stage debut, and his father Danjuro at Kabuki-za. From NHK Studio Park:
16 year-old Ebizo (right) and Matsu Takako (left) on the Taiga Drama "Hana no Han", also from NHK Studio Park:
Ebizo as Namiki Koji and Ueno Juri as Namiki's love interest Minako ("Deguchi no nai umi"). From Yahoo! Japan Movies:
More of the premiere of "Deguchi no nai umi" at Kabuki-za. From Mainichi On-line:
A newspaper pic from Yahoo! Auctions:
Ebizo and Ichikawa Kamejiro in "Kasane". From Getty Images:
More of NHK Studio Park:
[quote="Betsy Hayashi"]More of NHK Studio Park:
Some Ebizo-icons:
Ebizo, his father, Danjuro, and an other member of their family, at the OPERA GARNIER of PARIS, in March 2007 ( 23-31 of March, 2007):
,,Kabuki performance a hit at Paris opera house''
,,Ichikawa Danjuro performs as Benkei in "Kanjincho" at the Garnier opera house in Paris on Friday.
PARIS -- Famous kabuki actors Ichikawa Danjuro, Ichikawa Ebizo and other performers were given a warm reception at the Palais Garnier opera house in Paris on Friday as they launched a five-day show of kabuki in the French capital.
The troupe performed the play "Kanjincho," and the audience applauded as they watched the bold gestures and stage exit of the character Benkei, while shouts of "Naritaya!" the name of the guild of actors to which Ichikawa Danjuro and Ichikawa Ebizo belong, rang out in the hall decorated with paintings by French artist Marc Chagall.
It was the first time that a kabuki performance had been given at the opera house. Officials at the opera house reportedly brought up the idea of a performance when a separate performance was given at the Chaillot palace theater in the autumn of 2004 to mark the naming of Ichikawa Ebizo.
During the performance, subtitles were displayed in French on an electronic screen above the stage, and a special platform was placed on the stage for the actors.
In the stage greeting, Ichikawa Danjuro and eight other actors introduced themselves in French, earning them applause from the audience. Danjuro also glared at the audience in a performance accompanied with the explanation in French that people who were glared at wouldn't catch a cold for a year.
"Their clothes and gestures were beautiful, evoking the world of Uikyo-e," said one 60-year-old university professor who attended the performance. He added that the scene in Kanjincho of a servant beating his master would never occur in the West and said this made the performance interesting. (Mainichi)
March 24, 2007''
,,Kabuki performance a hit at Paris opera house''
,,Ichikawa Danjuro performs as Benkei in "Kanjincho" at the Garnier opera house in Paris on Friday.
PARIS -- Famous kabuki actors Ichikawa Danjuro, Ichikawa Ebizo and other performers were given a warm reception at the Palais Garnier opera house in Paris on Friday as they launched a five-day show of kabuki in the French capital.
The troupe performed the play "Kanjincho," and the audience applauded as they watched the bold gestures and stage exit of the character Benkei, while shouts of "Naritaya!" the name of the guild of actors to which Ichikawa Danjuro and Ichikawa Ebizo belong, rang out in the hall decorated with paintings by French artist Marc Chagall.
It was the first time that a kabuki performance had been given at the opera house. Officials at the opera house reportedly brought up the idea of a performance when a separate performance was given at the Chaillot palace theater in the autumn of 2004 to mark the naming of Ichikawa Ebizo.
During the performance, subtitles were displayed in French on an electronic screen above the stage, and a special platform was placed on the stage for the actors.
In the stage greeting, Ichikawa Danjuro and eight other actors introduced themselves in French, earning them applause from the audience. Danjuro also glared at the audience in a performance accompanied with the explanation in French that people who were glared at wouldn't catch a cold for a year.
"Their clothes and gestures were beautiful, evoking the world of Uikyo-e," said one 60-year-old university professor who attended the performance. He added that the scene in Kanjincho of a servant beating his master would never occur in the West and said this made the performance interesting. (Mainichi)
March 24, 2007''
And an article before these spectacles, describe the problems with the stage- too tall and without ,,hanamichi''.
gKabuki in Parish
The view of Paris from the Musée d'Orsay is fantastic. Although the domed Basilica of the Sacré Cœur at the top of Montmartre rises dramatically in the far distance, about half way an even more impressive building dominates the centre of this most romantic of cities. Dwarfing the other rooftops, the opera house, now known as the gOpéra Garnierh to distinguish it from a newer building, sits like a massive grande dame, old-fashioned, over-dressed and imperious, the heart of Parisian music-theatre.
Completed in 1874 by a young architect called Charles Garnier (1825-1898), it was built on ground so marshy that a small reservoir was created under the building which is kept in case of fire. More dramatically, this underground lair is known the world over (thanks in part to Andrew Lloyd Webber!) as the abode of the legendary Phantom.
At the end of this month Danjûrô and Ebizô will perform in gLfOpérah, as most people still call it, and this most famous stage will ring to the sounds of Kanjinchô (gThe Subscription Scrollh) and Momijigari (gThe Maple Viewingh). As these days most performances at LfOpéra are dance, they requested that dance-based Kabuki should be performed on this tour.
From the enormous stage the actors will look out at the opulent red and gilt auditorium, dominated by the huge crystal chandelier and, higher still, that incongruous Marc Chagall ceiling. Added in 1964, no one seems to have noticed how out of keeping it is with the rest of the sumptuous nineteenth-century decoration. The original ceiling is still under there, waiting patiently for this usurper to be carted off elsewhere by someone with a sense of style.
These surroundings are so different from those in which Kabuki is usually performed that one wonders how the theatre of the Edo Period townspeople will match with this nineteenth-century European neo-baroque. But classical cultures have a way of communicating their ideals over time and space. Shakespeare knew nothing about Okuni and she knew nothing about him. But a few years ago Nakamura Ganjirô (Sakata Tôjûrô) danced on the stage of the fantastic reconstruction of the Globe theatre in London – only about a hundred yards from the Shakespearefs original site – and seeing him there, surrounded by the Elizabethan white wattle and daub walls and thatched roof, seemed the perfect marriage of cultures.
In the past, Kabukifs tours abroad were often called gGrand Kabukih – a title obviously taken from gGrand Operah – and so even the management and promoters seem to have found them parallel cultures. Actually, thinking about the sets of some of the more gorgeous Kabuki plays, I canft think of anywhere better to stage them than LfOpéra.
Of course there will be problems. The stage, for example, is very tall – totally different from the wide but short stage which Kabuki uses today. And a hanamichi, like the one installed in Sadlerfs Wells Theatre in London last year, wonft be possible because of the system of seat allocation which the LfOpéra employs.
However, these are challenges which can be overcome and the Parisian audience will be treated not only to the two dance-dramas but also to a kôjô in which, I believe, Danjûrô intends to explain something about the two dances, in particular the idea of bushidô, the gway of the warriorh which plays such an important part in the way Togashi deals with his suspicions that Yoshitsune is travelling with Benkei and the other yamabushi priests.
One of the most interesting aspects of this performance of Kanjinchô is that Danjûrô and Ebizô will alternate the roles of Benkei and Togashi. This will be a unique opportunity to compare father and son but, as most people in Paris will only see one performance, most of the European audience members wonft, unfortunately, be able to make the comparison. Although young actors always want to become Benkei yakusha, gBenkei actors,h for me the more interesting role has always been Togashi. In one of the highlights of the play, after Benkei has been forced to beat the porter, and Togashi is, therefore, sure that the porter is Yoshitsune, he pauses, slowly looking across at Benkei. Suddenly, appalled at what has happened, he closes his eyes, tilts back his head in horror, and quickly leaves the stage. I will never forget the performance of the last Kanzaburô XVII at Danjûrôfs shûmei in 1985. How will Danjûrô and Ebizô perform this role? Wefll have to go to Paris to see. But however they perform, seeing Kabuki in the Paris opera house will be a terrific treat!
This treat bicamed an enormous success!!!
gKabuki in Parish
The view of Paris from the Musée d'Orsay is fantastic. Although the domed Basilica of the Sacré Cœur at the top of Montmartre rises dramatically in the far distance, about half way an even more impressive building dominates the centre of this most romantic of cities. Dwarfing the other rooftops, the opera house, now known as the gOpéra Garnierh to distinguish it from a newer building, sits like a massive grande dame, old-fashioned, over-dressed and imperious, the heart of Parisian music-theatre.
Completed in 1874 by a young architect called Charles Garnier (1825-1898), it was built on ground so marshy that a small reservoir was created under the building which is kept in case of fire. More dramatically, this underground lair is known the world over (thanks in part to Andrew Lloyd Webber!) as the abode of the legendary Phantom.
At the end of this month Danjûrô and Ebizô will perform in gLfOpérah, as most people still call it, and this most famous stage will ring to the sounds of Kanjinchô (gThe Subscription Scrollh) and Momijigari (gThe Maple Viewingh). As these days most performances at LfOpéra are dance, they requested that dance-based Kabuki should be performed on this tour.
From the enormous stage the actors will look out at the opulent red and gilt auditorium, dominated by the huge crystal chandelier and, higher still, that incongruous Marc Chagall ceiling. Added in 1964, no one seems to have noticed how out of keeping it is with the rest of the sumptuous nineteenth-century decoration. The original ceiling is still under there, waiting patiently for this usurper to be carted off elsewhere by someone with a sense of style.
These surroundings are so different from those in which Kabuki is usually performed that one wonders how the theatre of the Edo Period townspeople will match with this nineteenth-century European neo-baroque. But classical cultures have a way of communicating their ideals over time and space. Shakespeare knew nothing about Okuni and she knew nothing about him. But a few years ago Nakamura Ganjirô (Sakata Tôjûrô) danced on the stage of the fantastic reconstruction of the Globe theatre in London – only about a hundred yards from the Shakespearefs original site – and seeing him there, surrounded by the Elizabethan white wattle and daub walls and thatched roof, seemed the perfect marriage of cultures.
In the past, Kabukifs tours abroad were often called gGrand Kabukih – a title obviously taken from gGrand Operah – and so even the management and promoters seem to have found them parallel cultures. Actually, thinking about the sets of some of the more gorgeous Kabuki plays, I canft think of anywhere better to stage them than LfOpéra.
Of course there will be problems. The stage, for example, is very tall – totally different from the wide but short stage which Kabuki uses today. And a hanamichi, like the one installed in Sadlerfs Wells Theatre in London last year, wonft be possible because of the system of seat allocation which the LfOpéra employs.
However, these are challenges which can be overcome and the Parisian audience will be treated not only to the two dance-dramas but also to a kôjô in which, I believe, Danjûrô intends to explain something about the two dances, in particular the idea of bushidô, the gway of the warriorh which plays such an important part in the way Togashi deals with his suspicions that Yoshitsune is travelling with Benkei and the other yamabushi priests.
One of the most interesting aspects of this performance of Kanjinchô is that Danjûrô and Ebizô will alternate the roles of Benkei and Togashi. This will be a unique opportunity to compare father and son but, as most people in Paris will only see one performance, most of the European audience members wonft, unfortunately, be able to make the comparison. Although young actors always want to become Benkei yakusha, gBenkei actors,h for me the more interesting role has always been Togashi. In one of the highlights of the play, after Benkei has been forced to beat the porter, and Togashi is, therefore, sure that the porter is Yoshitsune, he pauses, slowly looking across at Benkei. Suddenly, appalled at what has happened, he closes his eyes, tilts back his head in horror, and quickly leaves the stage. I will never forget the performance of the last Kanzaburô XVII at Danjûrôfs shûmei in 1985. How will Danjûrô and Ebizô perform this role? Wefll have to go to Paris to see. But however they perform, seeing Kabuki in the Paris opera house will be a terrific treat!
This treat bicamed an enormous success!!!
On YouTube - 2 clips with Ebizo, one is a clip from the Opera Garnier Paris, title:,,Kabuki Ichikawa à l'Opéra Garnier'' and an other , very short, wiht Ebizo as drummer , title:,,Ebizo Ichikawa''- he's magnificent!
Image from Opera Garnier - Paris - 2007:
Two other pics from Opera Garnier - I don't recognize Ebizo because I don't know nothing about kabuki - maybe somebody can explain these photos:
No news about Ebizo on the japanese magazines? What is he doing now? :( :(
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