著者

菊池 あずさ

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.48, pp.59-79, 2009 (Released:2018-01-12)

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This essay discusses the performances of Hamlet by the Japanese director, NINAGAWA Yukio. Ninagawa has directed this tragedy six times, and among his Shakespearean productions, Hamlet is his most frequent. Each production was a turning point in his history as a director. Now he is 73 years old, and through his own experiences he has changed the theme and direction on Hamlet. However, his direction in 2003 was most significant.At first this essay will briefly review the history of Ninagawa's five Hamlets and reexamine each performance. Then the 2003 Hamlet, which is the newest direction and most controversial performance among Ninagawa's Hamlet, will be investigated associating the direction with the text and the criticisms. From the view point of thanatology, this essay will discuss the depictions of Hamlet and Fortinbras. Thirdly, Ninagawa's consideration about his own age and senescence will be presented and its association with his direction will be pointed out. Finally, this essay will make clear his present state in his own career as a director.

著者

渡辺 浩司 伊達 立晶 田之頭 一知 森谷 宇一 戸高 和弘 菊池 あずさ 石黒 義昭 萩原 康一郎 吉田 俊一郎

出版者

大阪大学

雑誌

基盤研究(B)

巻号頁・発行日

2006

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キケロ、クインティリアヌスといった古代ローマの弁論家は、弁論術の学的な根拠を追求するわけではなく、学的な根拠は古代ギリシアのアリストテレスによって作られた弁論術を継承している。18世紀になると弁論術の学的な根拠はバウムガルテンによって書きかえられた。現代におけるレトリック復興は、古代の弁論術を継承するものではなく、古代の弁論術への誤解と「認識がレトリカルだ」とする現代の考え方とによる。