- 著者
-
大橋 裕美
- 出版者
- 西洋比較演劇研究会
- 雑誌
- 西洋比較演劇研究 (ISSN:13472720)
- 巻号頁・発行日
- vol.12, no.2, pp.149-161, 2013
<i>MUSUKO</i> (The Son) is one of Osanai Kaoru’s most famous plays, and a typical example of Shin-Kabuki (New Kabuki) works. It was first published in magazine form in 1922. <i>MUSUKO</i> is a tale about a night watchman and a wanted young man named Kinjirô. He, it turns out, is the watchman's son, who disappeared nine years ago. Kinjirô meets his father again, but the watchman does not recognize his son because he has changed so much. Kinjirô keeps his secret to himself, and says good-bye to the watchman. Thus, Osanai describes an unusual relationship between a son and his father. The play was first staged in March 1923 at Teikoku Gekijyô. The actors Onoe Kikugorô VI (1885-1949), Onoe Matsusuke IV (1843-1928), and Morita Kanya XIII (1885-1932) all performed in the play, drawing a large audience. In this paper, I focus on two important aspects of <i>MUSUKO</i> as a modern Japanese play. Firstly, it is an adaptation of <i>Augustus in Search of a Father</i> by Harold Chapin (1886-1915). Generally, dramatic adaptations in modern Japan include concepts from the original sources, as in the play <i>Hernani</i> by Matsui Syôyô (1870-1933), and <i>Suisu-Giminden</i> (Wilhelm Tell) by Iwaya Sazanami (1870-1933). Both of these authors considered the original stories very carefully. In contrast, Osanai’s theory of adaptation is unique. He cut a lot of the dialogue and scenes from Chapin’s play, and changed the nature of the father’s character: the father in <i>MUSUKO</i> is as stubborn as a mule. Secondly, <i>MUSUKO</i> is a new and interesting drama about a father and his son. Needless to say, plays depicting parents and children are often warm-hearted, and emotional. <i>Augustus in Search of a Father</i> is a sentimental play as well. Yet, in <i>MUSUKO</i>, Osanai depicts the father and his son without tearful affection. It is noteworthy that the dramaturgy of <i>MUSUKO</i> is of a very rare type in Japan. <i>MUSUKO</i> was a well-received play during the Taisyô Era. The audience and critics spoke highly of its stage atmosphere. The set, designed by Tanaka Ryo (1884-1974), left an elegant impression on many people. During the Taisyô Era, the “kibun”(atmosphere or mood) was an important idea for the audience. They praised <i>MUSUKO</i> for its refined sense. <i>MUSUKO</i> was received as an enchanting play at its first performance in 1923.