Abstract:This article examines the transformation of Sagi, the third school of the traditional comedic performing art kyōgen, from a recognized professional form in the Edo era (1600–1868) to a community-based practice during the Meiji period (1868–1912). Through field and archival research, I will consider the challenges Sagi kyōgen faces operating outside the professional model of the institutionalized iemoto (school grandmaster) system and demonstrate how regionalization plays a key role in interpreting Sagi kyōgen's unique contemporary practice.

中文翻译：

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捉苍鹭：佐木学派狂元的奇事

摘要：本文考察了传统喜剧表演艺术第三流派“鬼元”从江户时代（1600-1868 年）公认的专业形式到明治时期（1868-1912 年）以社区为基础的实践的转变. 通过实地和档案研究，我将考虑 Sagi kyōgen 在制度化的 iemoto（学校特级大师）系统的专业模式之外运作所面临的挑战，并展示区域化如何在解释 Sagi kyōgen 独特的当代实践中发挥关键作用。