著者

赤井 紀美

出版者

日本文学協会

雑誌

日本文学 (ISSN:03869903)

巻号頁・発行日

vol.60, no.11, pp.13-25, 2011-11-10 (Released:2017-05-19)

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昭和一〇年前後、新派・新劇のジャンルでいわゆる「純文学」脚色が流行するなど、文学と演劇の関係はそれまでと異なった様相を見せるようになる。本稿では昭和一〇年の「春琴抄」劇化を取り上げ、久保田万太郎、川口松太郎による脚色の相違を通じ、当時の劇界また観客が「春琴抄」のどこに着目したかを考察する。また、右の考察を通じて当時の劇界と文学界また映画界の関係についても言及していきたい。

著者

赤井 紀美

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.56, pp.39-57, 2013 (Released:2017-01-06)

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Based on the true story of kabuki actor ONOE Kikunosuke II, MURAMATSU Shôfû's novel The Story of the Last Chrysanthemum (1937) became more publically known after being made into a film by director MIZOGUCHI Kenji, as well as a play in the New School style. During the few years around 1935, stories about performers and others involved in classical theater and their devotion to “the way of art (geidô),” were reproduced in many dramas and films. In this article, I examine The Story of the Last Chrysanthemum as a representative of these “works of art (geidômono).”In its acceptance in plays and films, “art” was transformed into a world with values more important than any other thing. The stories came to be controlled by a value system that made devotion and sacrifice of oneself to “the way of art” as an act of nobility. The concept of “the way of art” had existed in Japan for a long time, but had not always required such a strong spirit of self-sacrificial dedication. This view towards “the way of art” was characteristic of the period, and in it one can find a certain type of complicity with emperorcentric nationalism.

著者

赤井 紀美 Kimi Akai

出版者

学習院大学大学院人文科学研究科日本語日本文学専攻

雑誌

学習院大学大学院日本語日本文学 = Gakushuin University Graduate School nihongo-nihonbungaku (ISSN:13499386)

巻号頁・発行日

no.7, pp.51-65, 2011-03-31