AOKI Michiyoshi
Kanze School Noh Actor
Kanze School Noh Actor
Aoki Michiyoshi was born in 1950 as the first son of Aoki Shojirō, a shite (primary actor) of the Kanze School of Noh. He studied Noh under his father and Katayama Kuroemon IX (also known as Katayama Yusetsu). He established the Tosei-an Noh Theater in Kyoto, and is actively involved in Noh primarily in the ancient capital of Japan. He is also active in providing Noh performances outside Japan.
Aoki is known for his deep knowledge used in both writing new Noh works and reviving very old ones. For example, Aoki used his poetic sensibility to write the noteworthy work “The Morning of an Eternal Farewell” based on Miyazawa Kenji’s poem of the same name, in commemoration of the 100th anniversary of the poet’s birth. It was the first Noh work for which he wrote both music and lyrics, as well as choreographing the dance. His other works include “Rennyo,” a Noh work created in commemoration of the 500th anniversary of the death of Rennyo Shonin (an eminent Buddhist monk); “Sairyū Kotarō,” an original Noh work featuring the Akashina area of the Shinshu region, inspired by a story from “Folk Tales from the Saigawa River”; “The Beginning of Shishi-odori,” a Kyogen work inspired by Miyazawa Kenji’s fairy tale of the same name; “Hashikure Hoshi (Buddhist Priest),” derived from Black Rain by Japanese novelist Ibuse Masuji; and “Monogusa Uta-tarō,” another Kyogen work. Aoki is an extraordinary Noh actor implementing these words that appear in Zeami’s thirteenth century text on Noh, “Fushi Kaden” (Transmission of the Flower of Acting Style): “It should be easy for Noh actors with a good knowledge of Japanese literature to create works of Noh. Creating works is the most important part of the art of Noh.”
In May 2013, Aoki revived and performed “Naki-Fudō” (Crying Fudō), a Noh work created in the Muromachi period (1336-1573) and then virtually forgotten for centuries, for the first time in 400 years. Performed at Shōjōke-in Temple in Kyoto, the temple known for its picture scroll of crying Fudō (an Important Cultural Property of Japan), the performance attracted public attention.
He was awarded the Kyoto City Rookie Artist Encouragement Prize and Azumino Culture Prize. He is one of a number of individuals who have been collectively designated as holders of Intangible Cultural Properties, and he also serves as executive Board member of the Kyoto Kanze Kai Association and Director of Kyoto Noh Association
Aoki is known for his deep knowledge used in both writing new Noh works and reviving very old ones. For example, Aoki used his poetic sensibility to write the noteworthy work “The Morning of an Eternal Farewell” based on Miyazawa Kenji’s poem of the same name, in commemoration of the 100th anniversary of the poet’s birth. It was the first Noh work for which he wrote both music and lyrics, as well as choreographing the dance. His other works include “Rennyo,” a Noh work created in commemoration of the 500th anniversary of the death of Rennyo Shonin (an eminent Buddhist monk); “Sairyū Kotarō,” an original Noh work featuring the Akashina area of the Shinshu region, inspired by a story from “Folk Tales from the Saigawa River”; “The Beginning of Shishi-odori,” a Kyogen work inspired by Miyazawa Kenji’s fairy tale of the same name; “Hashikure Hoshi (Buddhist Priest),” derived from Black Rain by Japanese novelist Ibuse Masuji; and “Monogusa Uta-tarō,” another Kyogen work. Aoki is an extraordinary Noh actor implementing these words that appear in Zeami’s thirteenth century text on Noh, “Fushi Kaden” (Transmission of the Flower of Acting Style): “It should be easy for Noh actors with a good knowledge of Japanese literature to create works of Noh. Creating works is the most important part of the art of Noh.”
In May 2013, Aoki revived and performed “Naki-Fudō” (Crying Fudō), a Noh work created in the Muromachi period (1336-1573) and then virtually forgotten for centuries, for the first time in 400 years. Performed at Shōjōke-in Temple in Kyoto, the temple known for its picture scroll of crying Fudō (an Important Cultural Property of Japan), the performance attracted public attention.
He was awarded the Kyoto City Rookie Artist Encouragement Prize and Azumino Culture Prize. He is one of a number of individuals who have been collectively designated as holders of Intangible Cultural Properties, and he also serves as executive Board member of the Kyoto Kanze Kai Association and Director of Kyoto Noh Association
青木道喜
観世流 能楽師
1950年、観世流シテ方青木祥二郎長男として生まれる。父及び九世片山九郎右衛門(幽雪)に師事。冬(とう)青(せい)庵(あん)能舞台を構え、京都を中心に意欲的な活動を展開している。能の作曲・複曲に詳しいことで知られている。
宮沢賢治生誕百年を記念して初めて作詞・作曲・作舞した新作能「永訣の朝」は、詩心のある道喜によって能に作劇された佳作。他に親鸞上人五百回御遠忌記念能「蓮如」、『犀川(さいがわ)(長野県)の民話』所収の原話に取材した信州明科オリジナル作品「犀龍小太郎(さいりゅうこたろう)」があり、新作狂言「鹿(しし)踊(おど)りのはじまり」(注:宮沢賢治の童話。鹿踊りとは宮城・岩手両県に分布する一種の獅子舞)、井伏鱒二の『黒い雨』を題材にした「はしくれ法師」、「ものぐさ歌太郎」を書くなど、世阿弥が記した能の理論書『風姿花伝』第三問答条々の「能をせん程の者の、和才あらば、申楽を作らん事、易かるべし。これ、此道の命也。」を実践している稀有な能役者である。海外公演にも意欲的。
2013年5月には、室町時代に作られ、その後途絶えていた能「泣不動(なきふどう)」を復曲し、京都の清浄(しょうじょう)華院(けいん)(国重要文化財「泣不動縁起絵巻」所蔵)にて400年ぶりに上演、話題を呼んだ。
京都市新人芸術家選奨。安曇野文化大賞。
無形文化財総合指定。京都観世会理事。京都能楽会理事。
観世流 能楽師
1950年、観世流シテ方青木祥二郎長男として生まれる。父及び九世片山九郎右衛門(幽雪)に師事。冬(とう)青(せい)庵(あん)能舞台を構え、京都を中心に意欲的な活動を展開している。能の作曲・複曲に詳しいことで知られている。
宮沢賢治生誕百年を記念して初めて作詞・作曲・作舞した新作能「永訣の朝」は、詩心のある道喜によって能に作劇された佳作。他に親鸞上人五百回御遠忌記念能「蓮如」、『犀川(さいがわ)(長野県)の民話』所収の原話に取材した信州明科オリジナル作品「犀龍小太郎(さいりゅうこたろう)」があり、新作狂言「鹿(しし)踊(おど)りのはじまり」(注:宮沢賢治の童話。鹿踊りとは宮城・岩手両県に分布する一種の獅子舞)、井伏鱒二の『黒い雨』を題材にした「はしくれ法師」、「ものぐさ歌太郎」を書くなど、世阿弥が記した能の理論書『風姿花伝』第三問答条々の「能をせん程の者の、和才あらば、申楽を作らん事、易かるべし。これ、此道の命也。」を実践している稀有な能役者である。海外公演にも意欲的。
2013年5月には、室町時代に作られ、その後途絶えていた能「泣不動(なきふどう)」を復曲し、京都の清浄(しょうじょう)華院(けいん)(国重要文化財「泣不動縁起絵巻」所蔵)にて400年ぶりに上演、話題を呼んだ。
京都市新人芸術家選奨。安曇野文化大賞。
無形文化財総合指定。京都観世会理事。京都能楽会理事。