@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002257,
 author = {樹下, 文隆 and KINOSHITA, Fumitaka},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {19},
 month = {Oct},
 note = {pdf, In the Edo period, Noh flourished as the official ceremonial theater of the Bakufu, and many Noh performers served the Bakufu and various Daimyo. From the Muromachi period Noh was incorporated into the opening chants of Bakufu New Year ceremonies, theaters and banquets. Since many of the Daimyo modelled their ceremonies on those of the Bakufu, they appointed actors or trained their own retainers to perform. This continued even under the Tokugawa political regime, and the actors who served the Daimyo included not only specialized performers connected to the four principal troupes and from minor sarugaku troupes, but also pages who were appointed after learning Noh with the children of their retainer.
In the beginning, there may not have been any clear distinction between professional actors and actors from the samurai class. However, according to the regulations of the Noh actors from the sarugaku-hatto troupe from 1668 and 1683, professional actors were forbidden from wearing katana under their obi. Thus strict distinctions developed between samurai and professional actors, and in each clan Noh came to be, in principle, a hereditary and professional vocation. Edo period Noh reached its zenith under the fifth shogun Tokugawa Tsunayoshi. Tsunayoshi's personal enthusiasm for Noh can be regarded as the main reason, but at the same time, we should also consider the importance of the many Noh actors serving the various Daimyo.
In this paper I will consider these ideas based on the records of the Hagi Moori clan and the Iwakuni Kikkawa clan, mentioning several early Edo Hagi actors as an introduction to one aspect of early Edo Noh performers. In addition. I would like to examine their activities with examples of the independent training of Noh performers by the Iwakuni and consider the extent of the popularization of Noh theater in the rural clans prior to the golden age of Noh under Tsunayoshi.},
 pages = {156--170},
 publisher = {国文学研究資料館},
 title = {研究発表　地方諸藩に見る能役者の活動　―萩藩・岩国藩の江戸初期演能記録を中心に―},
 year = {1996},
 yomi = {キノシタ、フミタカ}
}