たばこの気持ち

落語なんてものはですね、生産性を上げるようなしろものではございませんし、ましてや時の政府に役立つようなものじゃございませんな。今、世間を騒がせいてる「日本学術会議」の話を持ち出すまでもなく、政府なんていうものは自分に都合の悪いものは、その昔から排除したがるものなんでございます。

戦前の戦局が差し迫った時期には、落語の、そりゃまぁばかばかしいったらアリャしない与太郎の話とか、廓話（くるわばなし）とかがですよ、国威高揚の時期には「もってのほか！」だっていうことで禁止されたんでございます。

それは『きんえん落語』と呼ばれ、高座では禁止されたってぇことで、それこそ言論弾圧そのものなんでごぜぇやすが、特高が睨みをきかす世の中で異議申し立てなどできる雰囲気じゃございませんから、泣く泣く封印したんでございます。

ですから「きんえん」と申しましても、たばこの「禁煙」じゃぁございませんよ。落語の演目が戦時下にあって、不適切と思われる演目を軍部が有無を言わせず禁止したから、それを「禁演落語」と言ったんでございますなり

これは、流行りのフェイクでも、真っ赤な嘘でもございませんよ。

とは申しましても、そんな世の中をしぶとく生き延びて、落語は今の世に伝わっているのでございますな。

というわけで今年の「せんばい寄席」は、11月5日、コロナ対策を万全に、メインは日テレ「笑点」でおなじみの三遊亭小遊三師匠があいつとめました。

Rakugo is not something that can increase productivity, much less be useful to the government of the day. Not to mention the "Science Council of Japan," which is currently causing a stir in the world, the government has always had a tendency to eliminate anything that does not suit it.

In the prewar period, when the war situation was imminent, rakugo (comic monologues) such as Yotaro's stories and kuru-baro stories were banned because they were "out of place" in a time of heightened national prestige. They were banned during a time of national prestige.

It was called "kin-en rakugo" and was banned on the stage, which is the very essence of suppression of speech, but the atmosphere was not conducive for objection in a world where the Special Higher Authority was watching over us, so it was closed down in tears.

Therefore, the word "kin-en" does not mean "no smoking." Rakugo performances were banned by the military during wartime because they were considered inappropriate, and the term "kin-en rakugo" was used to describe this.

This is neither a popular fake nor a outright lie.

However, rakugo has survived such a world, and has been handed down to the present day.

This year's "Senbai Yose" was held on November 5, and the main performer was Sanyutei Koyuza, a well-known master of Nittele's "Laugh Spot."

ところは、田町の専売ホール、午後6時半から開演とあいなりました。

最初の演者は、前座の春風亭かけ橋さんの「のめる／二人癖」で、「なくて七癖」と申しますが、その癖を口にしてしまったら1円払うという賭けをするってぇ話です。

建具屋の半公は「つまらない」が口癖で、仕掛ける側の勝さんは「いっぱい飲める」が口癖といううことで、そのために御隠居さんの知恵をお借りして、勝負を挑むわけでございますが、「いっぱい飲める」の勝さんの敗北で終わるってぇ話でしたなぁ。

2番目に高座に座ったのは、三遊亭遊之助さんの古典落語「ふぐ鍋」でございます。話の内容っていうのは、ふぐを初めて食べる旦那さんが、わっしも食べたいと言ってきた客人と、どんなにうまいもんだろうかと「てっちり」鍋を前に対峙するわけなんでございますが、箸をつけるのにためらいながら、どうぞお先にと勧め合うってわけでございますね。

なぜかって申しますと、まだ食べていないフグではありますし、すこぶる美味しいとは知っておりながら、猛毒で死ぬ恐れがあることも知っているわけでござんすね。

てなわけで、毒味を先にさせようとして、色々と、散々、駆け引きをするのでございますが、そこで思いついたのが、道端にいた物乞い（乞食）に毒味をさせればいいと合点がいったんでございます。

どうせ、死んだって世の中のためにたいしたことのない物乞いなら、試してからでも遅くはないということで、てっちり鍋から、丼ぶりにフグを入れて物乞いに食べさせたのでございます。

食べた後の物乞いの様子を、でっちに見てくるように旦那が指示し、その結果、物乞いは「体が温まってとてもおいしかった」と満足げにお礼を申しておりました、と報告するんですな。

そこで、旦那と客人は「これは安全」だということで、フグをハフハフ、ウガウガと美味しくいただいたんでございますな。

すると、そこにやってきた物乞いが、2人の元気な姿を見て「あのフグは安全なんですね。それじゃ〜、あっしもこれから美味しく頂戴いたします」と言って立ち去ったんでございますな。

物乞いに毒見をさせようとした2人が、逆に毒見役になってしまったというオチでございました。

小遊三師匠の2番目のお弟子さんである三遊亭遊之介さんは、今回初めて落語をお聞きしましたが、なかなかの迫力と人間力に敬服しました。今は、とある東京芸術大学講師で、舞台芸術論（落語）に関する講義もしているそうで、なかなかの理論派なんでございます。

ここで、10分間の「中入り」を挟み、お次は東京太・ゆめ子さんの漫才でございます。「もう帰ろうよ！」が決め台詞で、かなりのお年寄りご夫婦ではございますが、お二人の日ごろのお勉強の成果がたくさん聞けて、何せ「バーチャルの世界」とか、「コロナ禍の諸問題」とか、それはそれは面白おかしく、栃木弁丸出し、U字工事よりも面白くって、久しぶりに関東のしゃべくり漫才を堪能いたしやした。

大トリの高座は「マッテマシタッ！」、日テレ「笑点」でお馴染みの三遊亭小遊三師匠でした。

座布団に座り、羽織を脱ぎながら「私がお客さんだったら、このコロナ禍の時期には絶対来ませんねぇ〜っ」という挑発的なマクラの入りには、本当にびっくりさせられました。コロナ禍の折、収容人数200人のところ、ソーシャルディスタンスを確保し、40数名の一番前の席に座っていたので、マジマジと眺めた師匠の目つきは怖いようでもあり、笑点のエロ親父風キャラとはまったく異なり、年季をお積みになられたプロ仕様でやんしたね。

演目は「鰻の幇間／たいこ持ちの一八（いっぱち）がだまされ、うなぎをご馳走になる目論見が、逆にだまされて、2人分プラスお土産3人分を払わされる」というお話で、おまけにおろしたての草履まで、ボロな草履と取り替えられるっていう顛末ですから、まぁ、騙すつもりが騙されたってぇの間抜けな話でした。

三遊亭小遊三さん、軽妙かつ迫真の落語に感謝感激でございました。一般財団法人の文化事業として、毎年、落語で地域貢献されている全専売会館さんにも心から御礼を申し上げ、2020年せんばい寄席の報告に代えさせていただきます。

The performance started at 6:30 p.m. at Senbai Hall in Tamachi.

The first performer was Shunputei Kakehashi, the front man of the show, in his play "No nameru/Human-habit." It is a story about a bet that the audience will pay one yen if they utter one of the seven habits.

The story is that the builder, Hanko, always says "boring," and the instigator, Katsu, always says "I can drink a lot," so they challenge each other to a game, borrowing the wisdom of the waiter.

The second performer on the stage was Sanyutei Yunosuke's classic rakugo story "Fugu Nabe" (Blowfish Pot). The story is about a husband who eats fugu for the first time and confronts a guest who wants to try it, wondering how good it is.

The reason is that I have not yet eaten puffer fish, and although I know it is very tasty, I also know that it is highly poisonous and can kill you.

So, I tried to get him to taste the poison first, and we had a lot of games, and I came up with the idea of having a beggar on the street taste the poison.

Since the beggar would not do much for the world even if he died anyway, he decided it was not too late to give it a try, and so he fed the beggar a bowl of puffer fish from the tecchiri-nabe.

The master instructed Dechi to check on the beggar after he ate, and reported that the beggar was satisfied and thanked him, saying, "It warmed me up and was very tasty.

The master and his guest were assured that it was safe to eat the puffer fish, and they enjoyed the puffer fish.

Then, a beggar came up to them and, seeing them in good health, said, "That puffer fish is safe, isn't it? Well, then, I will enjoy the pufferfish from now on, too," he said, and walked away.

The two beggars were trying to poison the beggars, but they ended up being the poisoners.

This was the first time for me to hear Sanyutei Yunosuke, the second apprentice of Master Koyuza, perform rakugo, and I was impressed by his power and humanity. He is currently a lecturer at a certain Tokyo University of the Arts, where he also gives lectures on performing arts theory (rakugo), and is quite a theoretician.

After a 10-minute "intermission," Tokyo Futari and Yumeko were next to perform their manzai. Let's go home! They talked about the "virtual world" and "various problems of the Corona disaster" in a very funny way, and their Tochigi dialect was even funnier than Ujikoji's. It was the first time in a while that I enjoyed a manzai performance in the Kanto region. I enjoyed the Kanto style manzai for the first time in a long time.

The last act was "Matte mashita! The last performer was Sanyutei Koyuza, a well-known master of Nittele's "Laugh Spot."

I was really surprised when he sat on the cushion, took off his haori, and began his provocative speech with the words, "If I were a guest, I would never come here during this corona disaster season."

 I was sitting in the front row of 40-odd people, and as I gazed at the master's eyes, I could see that he had a scary look in his eyes, not at all like the erotic father-like character in Laugh-In, but more like a professional with many years of experience.

The story was about "Ippachi, an eel aider and abettor/taiko-handler", who was tricked into treating himself to eels, but was cheated out of his plan and had to pay for two eels and three souvenirs. It was a dumb story about a man who was trying to trick you but got tricked.

We were very grateful to Sanyutei Koyuza for his witty and sincere rakugo. I would also like to express my sincere gratitude to Zensenbai Kaikan, which contributes to the community through rakugo every year as a cultural project of a general incorporated foundation, and I would like to report on the 2020 Senbai Yose.