著者

奥冨 利幸

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.73, no.623, pp.213-219, 2008-01-30 (Released:2008-10-31)

参考文献数

2

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This paper analyzes the Noh space which set up at exhibitions of early Meiji era, including its relationship with the distinguished guest such as the Emperor Meiji or the royalty arrival. Noh space was not established at all of the exhibitions, so I take up the Kyoto, Osaka exhibition and Kanazawa, Nagoya museum where the Noh spaces were able to confirm. I analyze the layout of Noh space at the exhibitions, its spatial structure and the erection process. I examine the significance of exhibition from the angle of entertainment establishment which was never picked up. There is a characteristic at the point that used the newspaper articles to develop the process of the establishment of Noh space.

著者

奥冨 利幸

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.74, no.643, pp.2089-2094, 2009-09-30 (Released:2010-01-22)

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At the beginning of the Shouwa era, the Ireko style Noh Theater was popularized in Japan. Ireko Style is the placement of a small edifice within a larger space. Artists were beginning to become familiar with the Ireko style Noh Theater. It was created during the Meji era and also developed at the beginning of the shouwa era and eventually became the “Theater”. There are three examples of Ireko style Noh Theater, which were built at Nagoya, Kanazawa, Fukuoka. The many different aspects of the construction processes used to create these spaces are of particular interest.

著者

奥冨 利幸 富松 幸恵 林 真由子 山口 明日香 山田 裕樹

出版者

独立行政法人 国立高等専門学校機構 小山工業高等専門学校

雑誌

小山工業高等専門学校研究紀要 (ISSN:02882825)

巻号頁・発行日

vol.36, pp.177-186, 2004

著者

奥冨 利幸 富松 幸恵 林 真由子 山口 明日香 山田 裕樹

出版者

独立行政法人 国立高等専門学校機構 小山工業高等専門学校

雑誌

小山工業高等専門学校研究紀要 (ISSN:02882825)

巻号頁・発行日

vol.36, pp.177-186, 2004-03-05 (Released:2021-01-21)

著者

奥冨 利幸

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.74, no.644, pp.2265-2270, 2009-10-30 (Released:2010-01-22)

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This paper examines the Noh space that is located within the modern industrialist's residence. With the arrival of modern times, Industrialists had become very interested in certain sophisticated aspects of their culture. Most Industrialists were very interested in traditional Japanese culture, especially with regard to the aspects of Tea and Noh where two particular aspects of traditional Japanese culture that interested the most industrialists. They practiced Noh dancing, and also built Noh spaces in their private residences. This paper will examine how these Noh spaces were built, the building process and analyze the character of these spaces.

著者

奥冨 利幸

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.74, no.637, pp.675-680, 2009-03-30 (Released:2009-11-24)

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In Meiji period, the placement relations of auditorium and Noh stage, was changing from contraposition style to surrounding style. But when the end of Meiji era, the Noh theater space was beginning changed to new style. That is the traditional Noh stage located at indoor of theater and still being an individual building. I called it as Ireko style. This paper picked up two cases, one is Kongo Noh Theater, another is the theater of Hosho Noh Society. Though these two case study, I clarify the construction process of new style. In addition, I inspected the outbreak of Ireko style Noh theater how related with the Noh improvement movement for the same period.

著者

奥冨 利幸

出版者

一般社団法人日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.73, no.632, pp.2229-2234, 2008-10

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In this paper, first I clarify the formation of the theory of theatrical reform and the state of construction of improved theaters that were based on reforms in theatrical performance. Then I consider the influences on architecture of the reform of theatrical performance. Through the question of the Imperial Theater performance (a reaction to the 1911 request for a Noh performance at the Imperial Theater), which was a debate in the world of Noh, I examine, through the opinions and dissatisfactions of relevant figures regarding Noh theaters, the influence of the reform theaters on Noh theaters.