Existence: 1646 ~ ???
Master: Kaneko Rokuemon
Disciples: Kanazawa Heiroku, Kanazawa Hikotar˘, Kanazawa Hikogor˘ I
1st lunar month of 1688: the name of Kanazawa Goheiji, a disciple of Kaneko Rokuemon, appears for the first time in the Kabuki records, as a d˘kegata performing in Ky˘to at Miyako Mandayű's theater. Goheiji's rank in the Ky˘to hy˘banki, d˘kegata section, is naka (middle), shared with Yamada Jinpachi and Kuga Rokur˘emon.
1697: Goheiji performs as a d˘kegata in ďsaka at ďsaka Tazaemon's theater, with the troupe led by Araki Yojibŕ I. Goheiji's stage partners are Mihara Jűdayű I, Kokon Shinzaemon, Katsuyama ďhashi, Kamogawa Noshio I, Fujii Hachijűr˘, Takashima Onoe, Dekishima Kosabur˘, Yamamoto Kantar˘ I, Iwakura Man'emon, Iwamatsu Kizaemon and Takeshima Shichisabur˘.
Fall 1698: Goheiji goes to Ky˘to.
1st lunar month of 1701: Goheiji plays in Ky˘to at Ebisuya Kichir˘bŕ's theater the role of Tetsud˘maru in the drama "Miyako no Waka Ebisu", which is produced by Yamashita Hanzaemon I. His others stage partners are Ogino Samanoj˘ I, Yamashita Sagoemon, Okada Samanosuke and Yamamoto Kamon.
1st lunar month of 1702: Goheiji plays in Ky˘to at Ebisuya Sh˘dayű's theater the role of Tarosuke in the drama "ďt˘-no-Miya Kumano Ochi", which is produced by Yamatoya T˘kichi. His others stage partners are Sakurayama Shirosabur˘ I, Fujikawa Buzaemon I and Yamada Jinpachi.
1st lunar month of 1703: Goheiji goes back to ďsaka and plays with the troupe led by Kataoka Nizaemon I.
Fall 1706: Goheiji goes to Edo.
11th lunar month of 1709: Goheiji plays in ďsaka in the kaomise drama "Mai˘gi Masaki no Kazura", which is produced by Ogino Yaegiri I. This is the last recorded performance of Goheiji; We don't know what happens to him afterwards.
Kanazawa Goheiji was a popular and talented d˘kegata actor, who achieved fame for himself not only in his native Kamigata, but also in Edo for a few years, during the Genroku era. His popularity started to rise with the decline of the actor Sendai Yagoshichi and he was said to be able to make laugh both Ky˘to and ďsaka audiences, a rare feature for a d˘kegata actor because the forms of humor in these two cities were very different. He was a pioneer in using hy˘shigoto in his comical and somehow vulgar dances.
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