1 0 0 0 田中澄江「つづみの女」論:――家父長制からの脱却と個の模索――
- 著者
- 平敷 尚子
- 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.43, pp.193-207, 2005
<p>In 1958, TANAKA Sumie wrote a play, <i>A Woman Who Beats the Drum</i> (<i>Tsuzumi no Onna</i>), in which she imitated the structure of CHIKAMATSU Monzaemon's drama, <i>The Drum of the Waves of Horikawa</i> (<i>Horikawa Nami no Tsuzumi</i>). This paper concludes that Tanaka was interested in the characters and criticism of feudalism in the original play, but that she was dissatisfied with Chikamatsu's treatment of women. Thus, Tanaka emphasizes the importance of the spirit of women, and insists on the importance of breaking away from patriarchy. The play foreshadows the feminist movement in the 1960s in Japan.</p>
1 0 0 0 OA 田中澄江「つづみの女」論 ――家父長制からの脱却と個の模索――
- 著者
- 平敷 尚子
- 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.43, pp.193-207, 2005-10-01 (Released:2018-12-14)
In 1958, TANAKA Sumie wrote a play, A Woman Who Beats the Drum (Tsuzumi no Onna), in which she imitated the structure of CHIKAMATSU Monzaemon's drama, The Drum of the Waves of Horikawa (Horikawa Nami no Tsuzumi). This paper concludes that Tanaka was interested in the characters and criticism of feudalism in the original play, but that she was dissatisfied with Chikamatsu's treatment of women. Thus, Tanaka emphasizes the importance of the spirit of women, and insists on the importance of breaking away from patriarchy. The play foreshadows the feminist movement in the 1960s in Japan.