4 0 0 0 OA 小山内薫『息子』の時代
- 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, 2013-03-15 (Released:2013-03-15)
- 参考文献数
- 28
MUSUKO (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. MUSUKO 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 MUSUKO as a modern Japanese play. Firstly, it is an adaptation of Augustus in Search of a Father by Harold Chapin (1886-1915). Generally, dramatic adaptations in modern Japan include concepts from the original sources, as in the play Hernani by Matsui Syôyô (1870-1933), and Suisu-Giminden (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 MUSUKO is as stubborn as a mule. Secondly, MUSUKO 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. Augustus in Search of a Father is a sentimental play as well. Yet, in MUSUKO, Osanai depicts the father and his son without tearful affection. It is noteworthy that the dramaturgy of MUSUKO is of a very rare type in Japan. MUSUKO 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 MUSUKO for its refined sense. MUSUKO was received as an enchanting play at its first performance in 1923.
1 0 0 0 IR 岡本綺堂の劇作法と二代目市川左団次-史劇『維新前後』について-
- 著者
- 大橋 裕美
- 出版者
- 明治大学文学部・文学研究科
- 雑誌
- 文学部・文学研究科学術研究発表会論集
- 巻号頁・発行日
- vol.2006, pp.(39)-(43), 2007-02-07
『維新前後』は、「素人」の劇作家・岡本綺堂が初めて二代目市川左団次のために書いた作品である。川上音二郎が旗揚げし、左団次が出演する革新興行の脚本を依頼された綺堂は、それに応えて、「奇兵隊」と「白虎隊」という二つの戯曲を執筆し、この二作を併せて通し狂言『維新前後』とした。初演は明治四十一年九月の明治座である。 まず、前篇の「奇兵隊」において綺堂は、「頭領株」の左団次のために「英雄」の役を用意した。左団次は役作りに苦心し、旧劇にはない「磊落」さを表現しようとしたが、それは必ずしも成功したとはいえない。しかし一方で、作者綺堂が、「髪梳き」という歌舞伎や新派に頻出する劇作法を引用し、左団次の相手役に市川莚若(後の市川松蔦)という美貌の女方を配して見せ場を設けている。
1 0 0 0 OA インフルエンザ感染とテオフィリンクリアランスの変化
- 著者
- 佐藤 好範 関根 邦夫 渡辺 博子 大橋 裕美子 青柳 正彦 三之宮 愛雄 西牟田 敏之
- 出版者
- THE JAPANESE SOCIETY OF PEDIATRIC ALLERGY AND CLINICAL IMMUNOLOGY
- 雑誌
- 日本小児アレルギー学会誌 (ISSN:09142649)
- 巻号頁・発行日
- vol.11, no.4, pp.276-281, 1997-12-25 (Released:2010-04-30)
- 参考文献数
- 11
テオフィリン (TP) は, 気管支喘息治療薬として主要な薬剤の一つである. しかし, TPの代謝, クリアランスは種々の条件により影響を受け中毒症状を来しやすいことが知られている.今回我々は, 診断が明らかなインフルエンザウィルス (Inf) 感染時の, TPクリアランスの変化を経時的に検討した. その結果, 発熱に伴いTP血中濃度は約2倍に上昇し, クリアランスは2分の1に低下した. この変化は解熱後3日目に平常に戻った. またTP代謝産物の検討から発熱時にTPの代謝が抑制されている可能性が示唆された. Inf感染時には, 発熱と同時にTPの投与量を1/2に減量し, 解熱後3日目より, もとの投与量に戻すことによって, TP中毒を予防できうるものと考えられた.
1 0 0 0 小山内薫『息子』の時代
- 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.
1 0 0 0 IR 岡本綺堂の劇作法と二代目市川左団次--史劇『維新前後』をめぐって
- 著者
- 大橋 裕美
- 出版者
- 明治大学大学院
- 雑誌
- 文学研究論集 (ISSN:13409174)
- 巻号頁・発行日
- no.26, pp.333-350, 2006
『維新前後』は、「素人」の劇作家・岡本綺堂が初めて二代目左団次に書いた作品で、「白虎隊」と「奇兵隊」という二つの戯曲から成る。綺堂は「奇兵隊」で、「髪梳き」という歌舞伎や新派に頻出する劇作法を引用し、女方の市川莚若を配して左団次の「英雄」役を引立たせた。また「白虎隊」では、左団次がそれまでに手がけた、松居松葉作『袈裟と盛遠』や『ヴェニスの商人』等の作品をふまえ、「今迄の芝居には余り見掛けない」「老人」役を用意した。左団次はこれを、「従来の調子」を離れた台詞と動作で演じて成果をあげたが、この役は通常の「老役」を超えた、一人の老人」役として綺堂が造形したもので、同じ綺堂の『修禅寺物語』にもつながっている。