著者

萩原 健

出版者

日本演劇学会

雑誌

演劇学論集 日本演劇学会紀要 (ISSN:13482815)

巻号頁・発行日

vol.49, pp.53-73, 2009

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<p>Since the mid-1920s, agitprop troupes were established in Japan under the influence of the Russian Revolution and the international socialist movement. Performances took place not only in theatres but also in public spaces such as factory grounds, where the agitprop troupes performed critical social sketches for workers who hardly went to the theatre.</p><p>Among these Japanese agitprop troupes, the "Mezamashi-Tai (Alarm clock troupe)" was especially remarkable. The Japanese actor Koreya Senda, who had studied and worked in an agitprop troupe in Germany from 1927 to 1931, became a troupe member in 1932 and promoted its development according to his experiences in Germany. The performances of the troupe included montages of short dramatic pieces, sprechchor and musical pieces. The troupe also performed in front of regular audiences. Their performances created a new theatrical genre. They were simply constructed and the agitprop effect was preferred to artistic perfection. The Mezamashi-Tai became very popular, but it had to close its operations in 1934 under the pressure of the national security law. Some of its former members worked in governmental theatre organizations until 1945.</p><p>The activities of the "Mezamashi-Tai" have hardly been researched yet because of their political message and of their "non-artistic" form. However, the approach of the Mazamashi-Tai contained elements which in the meantime have become characteristic features of many theatrical performances since the 1970s until today.</p>