Shirai Matsujiro (白井松次郎)
Matsujiro SHIRAI (December 13, 1877 - January 23, 1951) was a founding member (and President) of Shochiku Co., Ltd. He was an active theatrical promoter and manager of theaters. He has been renowned for introducing a modern system to the conservative entertainment industry in the Meiji period. He endeavoured to conserve and promote classical theater, including Kansai Kabuki and the Japanese puppet theater. Financial support he gave it was one of his greatest achievements.
Biography and Personal Profile
On December 13, 1877 Matsujiro SHIRAI was born in Kyoto. His father was Eikichi OTANI and his mother was Shimo. He had a twin younger brother Takejiro OTANI. His biological father Eikichi was a promoter of Sumo and let his wife run 'mizuba' (a theatre shop). He loved the theatrical ambience, helping his parents with their family business from early childhood. Eventually he and his younger brother Takejiro wanted to work in the entertainment industry.
In 1895 he went on his first tour, leading Shojaku JITSUKAWA's troupe. The success of this tour was acknowledged by Kamekichi SHIRAI, a theatre shop owner who adopted Matsujiro in 1897. In 1902 he opened the Meiji-za Theater (which later became the Kyoto Shochiku-za Theatre) in Shinkyogoku, Kyoto. He was fervently engaged in innovating the entertainment world and improving theatrical performances. In the same year he and his younger brother established Matsutake Gomei Kaisha in Ashihara-cho, Minami Ward (Osaka City), Osaka City. Later they bought the Shintomi-za Theater in Tokyo to advance into Tokyo. After that, Takejiro became President of Kanto Shochiku and Matsujiro became President of Kansai Shochiku.
Matsujiro's partnership with Ganjiro NAKAMURA I who was a popular actor in Osaka determined his destiny. They worked together for the first time when Ganjiro performed at the Tokyo Kabuki-za Theater in October 1905. Starting with this, and as early as 1906 they made a successful production at the Naka-za Theater in Dotonbori in their strong partnership. Gaining ground in Kansai, Matsujiro bought the Kyoto Minami-za Theater within the same year. He had since acquired the following theatres: the Asahi-za Theatre and the Bunraku-za Theatre in Osaka (1909), the Shintomi-za Theater in Tokyo (1910), the Doshima-za Theatre in Osaka (1911), the Tokyo Kabuki-za Theater (1913), the Dotonbori Kado-za Theater in Osaka (1917) and the Naka-za Theater in Osaka (1918). He entirely dominated the industry in Kamigata while at the same time making steady advances in Tokyo.
His strengths included the utmost popularity of Ganjiro in Kansai region and the introduction of a modern theatrical promotion system. He abolished as many corrupt practices deep-seated in the theater as he could. He kept the flow of money transparent. He thereby prevented the Yakuza and other criminal organizations from intervening in the theatrical promotion business. On the other hand, he made an effort to improve the actors' status and working conditions. He reformed the Edo system in which a handful of lead actors acquired huge amounts of salary with which they supported their disciples. He established a wage system in which the company paid wages to all the actors from lead to utility. He thus endeavoured to eliminate as many destabilizing elements in the entertainment business as possible. He also made innumerable minor reforms.
In 1909 he acquired a right of management of Ningyo Joruri (or Bunraku, the Japanese puppet theater), which was losing its popularity, in the spirit of Robin Hood, doing the best he could for its preservation and promotion. (Up till then, he took little interest in Bunraku, but being a man of Kamigata, he held himself responsible for rebuilding it without any regard for the bottom line). In 1920 he and Takejiro founded Shochiku Kinema, making inroads into motion pictures. In 1921 he became President of Nippon Dream Kanko which he managed. He became President of Shochiku Tochi Tatemono Kogyo, Co., Ltd., established in 1929 to supervise Kansai Shochiku. During this period he energetically promoted performances, especially puppet theater productions. In 1930 he newly built the Bunraku-za Theater in Yotsuhashi, Osaka. In 1932 he newly constructed the Osaka Kabuki-za Theater in Sennichimae. In 1933 he opened the Osaka Gekijo Theater also in Sennichimae. In 1937, Shochiku Tochi Tatemono Kogyo Co., LTD. merged with Shochiku Kogyo, Co., Ltd., founded by Takejiro to supervise Tokyo Shochiku. Shochiku Co., Ltd. came into existence and Matsujiro became Chairman.
In 1946 he aimed at conserving and promoting classical theater in the post-war years of recovery. At first, he reconstructed the Yotsuhashi Bunraku-za Theater in its ruins of a fire. He then rebuilt the Naniwaza-za Theater in Dotonbori (1946), followed by the Kado-za Theater (1947) and the Naka-za Theater (1948). Supporting Shokaku SHOFUKUTEI V, he put his mind to reviving Kamigata rakugo (comic storytelling). He opened the Ebisubashi Shochiku theater (in 1947). This triggered the subsequent revival of Kamigata rakugo.
Matsujiro died on January 23, 1951. Died at the age of 75. He was posthumously given the Order of the Sacred Treasure, Gold Rays with Rosette.
Enjaku JITSUKAWA (II) who attended Matsujiro SHIRAI's funeral caught a cold, which became so bad that he died a month later. In a sense, the deaths of Shirai and Jakuen closed a chapter of Kansai Kabuki.
While Matsujiro's achievements were much appreciated, he solely focused on Ganjiro I. Kansai Kabuki had lost its center since he and Ganjiro died. Some have criticized him that this remotely caused it to decline.