著者

藤原 麻優子

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.17, no.1, pp.19-34, 2018 (Released:2018-04-01)

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Since the debut of Musical The Prince of Tennis in 2003, stage musicals adapted from two-dimensional media such as manga and anime have gained remarkable popularity in Japan. These “2.5 dimensional musicals” are unique in many ways: they require a comparatively low budget, inexperienced actors, a remarkably simple stage set and demonstrate loyalty to the original material. In these ways, they are distinct from the more conventional and imported musical productions performed at major Japanese commercial theaters. Among the unique characteristics of 2.5 dimensional musicals, one of the most distinct is its principle of the adaptation. To adapt the original material from page to stage, musicals can either remain faithful to or deviate from the original material. In conventional musicals, faithfulness to the original material is not their main purpose. Writers cut, change and adapt the original material to serve their purpose and create “original” shows. Conversely, in 2.5 dimensional musicals, faithfulness to the original material is of great importance. The name of the genre itself suggests the importance and uniqueness of the ideals of the adaptation; 2.5 dimensional musicals strive to remain faithful to the original manga/anime image and create an effect that allows the audience to perceive what they see as two-dimensional even though the performance itself is undeniably happening in three-dimensional theater space. The latter characteristic prompted the emergence of the name “2.5 dimensional” musicals. Although its two-dimensionality has attracted notice, the fact that the performances have also been set to music and dance has been overlooked - in some cases, both musical and non-musical shows have been classified as “2.5 dimensional musicals.” To analyze the characteristics of the 2.5 dimensional musical, this study will compare Musical The Prince of Tennis with mainstream musicals such as Beauty and the Beast (1994) More than ten productions have been made of Musical The Prince of Tennis series; this paper focuses on the opening numbers of those productions. In conventional musicals, opening numbers are expected to function as an important part of the show. Opening numbers set the context, introduce characters, direct the story, present the theme, and essentially, open the show. This study aims to reveal the characteristics of Musical The Prince of Tennis and investigate how musical numbers work in those shows through comparison of the elements that characterize opening numbers.

著者

藤原 麻優子

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.15, no.1, pp.33-47, 2016 (Released:2016-04-01)

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On Broadway and West End, the new millennium regarded as an era of juke-box and movie musicals. However, there is another trend, including Urinetown (2001), The Producers (2001), Avenue Q (2003), Spamalot (2005), The Drowsy Chaperone (2006), The Book of Mormon (2011), and Something Rotten! (2015). These shows share several aspects that differ from juke-box musicals and movie musicals. This essay aims to reevaluate these musicals as metamusicals: an alternative genre of musical theater that emerged around the 2000s. Regarding this kind of musicals, Kathryn Edney argued that City of Angels (1989) was one of the first “hyper-aware” musicals. In Showtime, Larry Stempel referred to shows such as Urinetown, Avenue Q, and The Drowsy Chaperone as “self-reflexive.” Osanai Shin categorized The Producers, Spamalot, and The Drowsy Chaperone as “meta musicals”—along with revivals of backstage musicals such as Kiss Me, Kate (1999) and 42nd Street (2001). Reviews by notable theater critics, such as Ben Brantley, also share this viewpoint regarding these musicals. However, while they mention the possibility of the emergence of a new genre of musical theater, their analyses are sporadic and disagree on some points, such as which shows might be included in this new trend. As the analysis of this essay reveals, these shows are basically musical comedies filled with self-references but not necessarily backstage musicals. Rather, these musicals are saturated with inside jokes, parodies, and self-referential spoofs even though they are not necessarily backstage musicals. In this regard, there is a sharp distinction between the shows produced before and after the turn of the century. As in The Drowsy Chaperone, The Book of Mormon, and Something Rotten!, self-referential jokes are not merely a device of musical comedy to entertain its audience. Instead, they consists the main body of the show. In these metamusicals, characters are aware that they are in musicals. In fact, they are hyperaware of their existence in a musical. They comment on how musicals should be and how they feel about certain songs, and they often complain about the show they are in. At the same time, the plot of the show comments on itself as being a musical. All in all, metamusicals examine the relevance of the conventions of musical in this postmodern world.

著者

北野 雅弘 山口 遥子 わたなべ まり 松鵜 功記 綾田 將一 沖渡 崇史 川渕 優子 山下 純照 塩田 典子 稲山 玲 松尾 ひかり 大崎 さやの 鈴木 国男 根岸 理子

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.22, no.1, pp.46-80, 2023 (Released:2023-03-31)

著者

鈴木 美穂

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.13, no.2, pp.108-119, 2014-03-31 (Released:2014-04-03)

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This paper discusses Caryl Churchill’s Top Girls by focusing on the portrayal of Angie, who is regarded by critics as a comparatively minor character. As symbolically exhibited in the confrontational relationship between Marlene and Joyce, a binary opposition functions as the dominant structure of the play. Marlene, one of the leading characters, is bent on boosting her already successful career and espouses Margaret Thatcher’s monetarist policies. Appearing in almost every scene, she seems to be at the heart of the play, and her presence reinforces various dichotomies, such as winner/loser and centre/margin. Her sister Joyce, a working-class single mother, does not accept Marlene’s point of view. However, Angie, who has been raised by Joyce but is actually Marlene’s sixteen-year-old daughter, has the potential to decentralise Marlene’s position and subvert the rigid binary opposition. First, Angie demonstrates the possibility of fluidising binary relationships at various levels. In Act II scene 2, she and her friend Kit are crammed into a small shelter. Their interdependent relationship is shown through the representation of their bodies, as when Kit shows her menstrual blood to Angie on her finger, and Angie licks it. These representations also symbolize the variable relationship between the inner and outer parts of the body. In that scene, Angie is geographically and socially in the most marginalised position in relation to the centre, London, where Marlene lives. However, Angie decides to visit London because she believes that Marlene is her birth mother. In this manner, Angie is able to break up the rigid relationship between the two. Second, the unrealistic dinner party in the first scene can be thought of as Angie’s dream, which also overthrows Marlene’s centrality within the play. Although the party is held to celebrate Marlene’s promotion, her position is gradually decentralised as guests talk about their painful experiences in childbirth and separation. The separation between mother and child suggests a strong connection to Angie’s search for her biological mother. During the dinner party, verbal language gradually recedes as the characters’ bodies come to the fore. These processes are symbolically represented by the portrayal of the female pope, Joan, whose vomiting in the final scene evokes the story of her horrible childbirth. These images also imply the plasticity of the relationship between the inner and outer parts of the body, as suggested by Angie’s bodily representation in the shelter scene. Thus, Angie implodes the various boundaries and decentralises Marlene’s position in Top Girls.

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

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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.

著者

藤原 麻優子

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.17, no.1, pp.19-34, 2018

---

Since the debut of <i>Musical The Prince of Tennis</i> in 2003, stage musicals adapted from two-dimensional media such as manga and anime have gained remarkable popularity in Japan. These "2.5 dimensional musicals" are unique in many ways: they require a comparatively low budget, inexperienced actors, a remarkably simple stage set and demonstrate loyalty to the original material. In these ways, they are distinct from the more conventional and imported musical productions performed at major Japanese commercial theaters.Among the unique characteristics of 2.5 dimensional musicals, one of the most distinct is its principle of the adaptation. To adapt the original material from page to stage, musicals can either remain faithful to or deviate from the original material. In conventional musicals, faithfulness to the original material is not their main purpose. Writers cut, change and adapt the original material to serve their purpose and create "original" shows. Conversely, in 2.5 dimensional musicals, faithfulness to the original material is of great importance. The name of the genre itself suggests the importance and uniqueness of the ideals of the adaptation; 2.5 dimensional musicals strive to remain faithful to the original manga/anime image and create an effect that allows the audience to perceive what they see as two-dimensional even though the performance itself is undeniably happening in three-dimensional theater space. The latter characteristic prompted the emergence of the name "2.5 dimensional" musicals.Although its two-dimensionality has attracted notice, the fact that the performances have also been set to music and dance has been overlooked - in some cases, both musical and non-musical shows have been classified as "2.5 dimensional musicals." To analyze the characteristics of the 2.5 dimensional musical, this study will compare <i>Musical The Prince of Tennis</i> with mainstream musicals such as <i>Beauty and the Beast</i> (1994) More than ten productions have been made of <i>Musical The Prince of Tennis</i> series; this paper focuses on the opening numbers of those productions. In conventional musicals, opening numbers are expected to function as an important part of the show. Opening numbers set the context, introduce characters, direct the story, present the theme, and essentially, open the show. This study aims to reveal the characteristics of <i>Musical The Prince of Tennis</i> and investigate how musical numbers work in those shows through comparison of the elements that characterize opening numbers.

著者

田中 里奈

出版者

Japanese Society for Theatre Research. Comparative Theatre Section

雑誌

西洋比較演劇研究 (ISSN:13472720)

巻号頁・発行日

vol.18, no.1, pp.1-20, 2019 (Released:2019-04-01)

著者

Kei HIBINO

出版者

Japanese Society for Theatre Research. Comparative Theatre Section

雑誌

西洋比較演劇研究 (ISSN:13472720)

巻号頁・発行日

vol.11, no.1, pp.30-42, 2011 (Released:2012-03-15)

参考文献数

3

被引用文献数

1 6 2

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This paper will propose to evaluate Good-bye (Sayonara), the “first android theatre piece” which premiered in 2010. Rather than focus on technological advances, however, I will focus on the piece as artwork that reflects the aesthetics of Hirata Oriza (1962-), a Japanese playwright and director who produced this work in collaboration with roboticist Ishiguro Hiroshi. While some denounce Good-bye as being no better than mechanical puppetry, it encapsulates Hirata's dramaturgical principle of oscillating between fakery and authenticity, which has characterized his plays since he began his professional career in the mid-1980s. One of his representative works, Citizens of Seoul (1989) and its sequels serve my purpose of demonstrating this characteristic. Featuring a dying young woman and her android attendant, Good-bye appears to be a cheap melodrama that provokes sentimentalism, but it maintains its precarious poise by regaining authenticity through the playwright's tactful device of having the android recite poems. The thematic tension between similarities and difference in the poems recapitulates Hirata's dramaturgical focus on the juxtaposition of genuineness with falsity.

著者

菊地 浩平

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.199-210, 2013-03-15 (Released:2013-03-15)

参考文献数

27

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Samuel Foote (1720-1777) was a comedy playwright and actor whose plays were considered to be representative of eighteenth-century English theatre. However, these days, Foote is largely neglected by academia. My study of the Primitive Puppet-Shew reveals that the second marionette show Foote performed in his later years showed him performing with an unconventional casting that involved him and life-size wooden marionettes. Foote, who had a wooden prosthetic leg which he greatly depended upon, created a highly impressive production that raised questions regarding the boundaries between the human body and the marionette. A study of Foote’s first marionette show, Tragedy a-la-Mode, which he staged before the horse-riding accident in 1766 that cost him his leg, clarifies that Foote was aware of the significance of these questions even at that time. What exactly was the origin of Foote’s awareness of the significance of the body in experimental tragedy enacted using life-size pasteboard marionettes and a human actor? I attempt to answer this question through an exploration of Foote’s theatrical activities during his early to middle period, which can be regarded as the preparatory stage for his later marionette plays. Two of Foote’s theatrical essays are first analysed from his early period, “A Treatise on the Passions” and “The Roman and English Comedy Consider’d and Compar’d,” to clarify his attitude towards acting. In particular, I survey how Foote viewed Garrick’s “natural” style of acting, which the former examined in the two theatrical essays, and demonstrate that Foote intended to develop an acting technique that could compete with Garrick’s. I also elucidate Foote’s reaction to Garrick’s acting in his theatrical essays and how Foote’s concept of the body played an important role in his future theatrical activities as an actor and comedy playwright. Through an analysis of the character of Mrs. Cole in Foote’s masterpiece, The Minor, I clarify how he developed his concept of the actor’s body and subsequently applied it in his marionette plays.

著者

井上 優

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.19, no.1, pp.23-37, 2020

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This paper aims to reassess the context of the Bungaku-za production of <i>Hamlet</i> directed by Tsuneari Fukuda (1955). This production is known for its huge box-office success and seen as one that shows the new possibilities to present Shakespeare plays on the post-war Japanese stages. Fukuda, influenced by the same play directed by Michael Benthall which he saw during his stay in London in 1953-4, introduced new acting style, i.e., speaking lines with high speed and no pause, without psychological depict.It is well-known that this production was realized with the Toyo-o Iwata, one of the members of the Directorial Board of the Bungaku-za. Iwata himself had stayed in Paris twice before the WW II and was known as a theorist and translator of French Theatre and plays. Of course, he was completely unfamiliar to Shakespeare and Shakespearean production. The Bungaku-za had never produced any Shakespeare plays under Iwata's directorship. The question arise naturally why Iwata supported Fukuda's <i>Hamlet</i>. There are two possible answers to it;1) Iwata's reevaluation of Shakespeare during his stay in London in 1953.2) His reluctance to agree with naturalist tendencies of modern dramas.In Iwata's view, Shakespeare's plays could be a breakthrough to the dead-end situation of modern dramas in general. Fukuda's <i>Hamlet</i> might be said to be a product of chance, i.e. that of accidental coincidence of Fukuda's ideal and Iwata's view of the modern theatre.

著者

井上 優

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.19, no.1, pp.23-37, 2020 (Released:2020-04-01)

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This paper aims to reassess the context of the Bungaku-za production of Hamlet directed by Tsuneari Fukuda (1955). This production is known for its huge box-office success and seen as one that shows the new possibilities to present Shakespeare plays on the post-war Japanese stages. Fukuda, influenced by the same play directed by Michael Benthall which he saw during his stay in London in 1953-4, introduced new acting style, i.e., speaking lines with high speed and no pause, without psychological depict. It is well-known that this production was realized with the Toyo-o Iwata, one of the members of the Directorial Board of the Bungaku-za. Iwata himself had stayed in Paris twice before the WW II and was known as a theorist and translator of French Theatre and plays. Of course, he was completely unfamiliar to Shakespeare and Shakespearean production. The Bungaku-za had never produced any Shakespeare plays under Iwata’s directorship. The question arise naturally why Iwata supported Fukuda’s Hamlet. There are two possible answers to it; 1) Iwata’s reevaluation of Shakespeare during his stay in London in 1953. 2) His reluctance to agree with naturalist tendencies of modern dramas. In Iwata’s view, Shakespeare’s plays could be a breakthrough to the dead-end situation of modern dramas in general. Fukuda’s Hamlet might be said to be a product of chance, i.e. that of accidental coincidence of Fukuda’s ideal and Iwata’s view of the modern theatre.

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.297-310, 2013-03-15 (Released:2013-03-15)

著者

田ノ口 誠悟

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.162-173, 2013-03-15 (Released:2013-03-15)

参考文献数

15

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The first aim of this paper is to discuss “the People’s Theatre” of Jean Giraudoux, a French playwright who wrote in the 1930s, by reading his essays on the theater. I will then show that, when compared with the other theories of “the People’s Theatre” that were presented under the French Third Republic, Giraudoux’s theory was very particuliar. Giraudoux made his debut in the theater in 1928 when his novel Siegfried was adapted for the stage. This play became a great success and Giraudoux consequently made his name as a playwright. After the success of Siegfried, Giraudoux wrote a number of popular plays. Parallel to his playwriting, Giraudoux also wrote several essays about the theater. There are nine essays in all. These essays are on many topics, such as the situation of the theatre in other countries, the dramaturgies of the classic playwrights, and the relationship between film and the theater. The essays are wide-ranging and we should note that in all these essays, there is a question about the relationship between the French Third Republic and the theater. In France, the idea that the theater should be adapted for a democratic society appeared in the form of the “People’s Theater” (le théâtre du peuple). It was the philosophers of the eighteenth century, such as Jean-Jacques Rousseau, who first proposed this vision of a new form of theater. In their theories, they insist that the theater after the revolution must refuse the aesthetic of the aristocracy and should be adapted instead for the aesthetic of the people. Meanwhile, the conception of a theater for, and by, the people was further developed by Jules Michelet in the middle of the nineteenth century. However, it was only after the birth of the French Third Republic that a real democracy was born in France, and the intellectual discussion about the idea of a theater for democracy was at its worst. We can consider that Giraudoux’s essays about the theater connect with the rise of discussions about “the People’s Theater” in the age of the French Third Republic. However, “the People’s Theater” of Giraudoux is something very unique when compared to the ideas of the others theorists of this generation because his is a theory of a theater that can destroy the Republic, rather than a theory of a theater that services the Republic.

著者

村島 彩加

出版者

Japanese Society for Theatre Research. Comparative Theatre Section

雑誌

西洋比較演劇研究 (ISSN:13472720)

巻号頁・発行日

vol.11, no.2, pp.80-93, 2011 (Released:2012-03-16)

参考文献数

38

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Matsumoto Kôshirô VII (1870-1949) is now remembered for his authentic rendition of kabuki classics. However, in his youth, he was interested in Western culture and learned English, Western dance and the violin. Worthy of special mention is his experiments with Western make-up, which he learned from Making Up (Witmark & Sons 1905), a stage make-up manual by American actor James Young.Kôshirô had photographs of his wearing Western make-up taken and published themin Japanese theater magazine Engei Gahô serially, under the title of “hensô”. Literally meaning “to change one's looks,” “hensô” can imply more than changing one's appearance by putting on make-up. I would argue that Matsumoto's engrossment in Western make-up prefigured the subsequent development of interest in facial expressions as an acting technique, which was advocated by theatre theorists and practitioners who had seen or studied Western theater in early twentieth century Japan. The irony with this is that, while those who emphasized the importance of “hyôjyô” - a rarely used word then meaning facial expressions - and sought guidance for Kôshirô's “hensô” series pursued a new style of acting to get rid of old kabuki, Kôshirô studied Western make-up for his acting in kabuki theater.Kôshirô's photos have not been fully appreciated because his experiments with Western make-up were considered an amateurish hobby. However, considering the influences his study had on shingeki actors - he taught Western make-up methods at Tokyo Haiyu Yôseijo, a training facility for shingeki actors - it is necessary to cast a new light on Kôshirô, who is usually understood as a superb Meiji-era kabuki actor endowed with a beautiful body suitable for kabuki classics. Certainly, he was a pioneer in modernizing kabuki acting as well as a mediator between kabuki and modern Japanese theater.

著者

Oriza HIRATA

出版者

Japanese Society for Theatre Research. Comparative Theatre Section

雑誌

西洋比較演劇研究 (ISSN:13472720)

巻号頁・発行日

vol.11, no.1, pp.22-28, 2011 (Released:2012-03-15)

被引用文献数

3 3

著者

稲山 玲

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.21, no.1, pp.16-34, 2022-03-31 (Released:2022-03-31)

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This paper analyses Hisashi Inoue’s view on the Japanese Emperor in Yume no Kasabuta (The Scab of the Dream, 2006). One of the themes of this play is the Japanese Imperial system. Before the end of WW2, the Emperor was considered sacred, and it was forbidden to depict him in the arts. After 1945, playwrights started to write about the Imperial system, but the Emperor rarely appeared in their works. In Inoue’s Yume no Kasabuta, the real Emperor does not appear. Instead, one character acts the role of Emperor Showa in a play within the play. This paper focuses on how Inoue depicts ‘the Emperor’ to clarify Inoue’s view on the Japanese Emperor. The outline of Yume no Kasabuta is as follows. The play is set at a mansion in the Tohoku region. One day, the residents of the mansion are informed that the Emperor will stay at the mansion during his nation-wide tour, known as ‘gyōkō’, after WW2. To welcome the Emperor, the residents and neighbours of the mansion decide to practice how to communicate with him. At this rehearsal, Tokuji Miyake, a former military officer, plays the role of ‘the Emperor’ and Kinuko Sato, a female teacher, criticizes ‘the Emperor’ for not taking responsibility for Japan’s defeat in WW2. In this paper, I analyse Inoue’s view on the Japanese Emperor based on the following two features of ‘the Emperor’. The first is that ‘the Emperor’ is a device used to depict the Emperor indirectly. This indirectness shows Inoue’s restraint in criticizing the Emperor. The second is that ‘the Emperor’ performs acts that the real Emperor did not actually perform. For example, ‘the Emperor’ accepts responsibility for the war and apologizes to the Japanese people. Interestingly, these acts by ‘the Emperor’ are what Inoue hoped the real Emperor would do right after the war. Additionally, Tokuji, who plays ‘the Emperor’, marries Kinuko. Inoue said that Kinuko began to love Tokuji after he played the role of ‘the Emperor’. That means Kinuko did not fall in love with Tokuji himself but with ‘the Emperor’ that he portrayed. This paper interprets the marriage as a symbol of the love between ‘the Emperor’ and the Japanese people. From the above analysis, I conclude that this play shows Inoue’s complicated views on the Japanese Emperor. On the one hand, he criticized the Emperor in this play for his lack of responsibility for the defeat. On the other hand, he could not depict the real Emperor directly and made ‘the Emperor’ get married to a Japanese woman. This marriage shows the love which might have existed between the Emperor and the Japanese people if the Emperor had apologized to the people.

出版者

Japanese Society for Theatre Research. Comparative Theatre Section

雑誌

西洋比較演劇研究 (ISSN:13472720)

巻号頁・発行日

vol.11, no.2, pp.126-142, 2011 (Released:2012-03-16)

著者

松浦 愛子

出版者

Japanese Society for Theatre Research. Comparative Theatre Section

雑誌

西洋比較演劇研究 (ISSN:13472720)

巻号頁・発行日

vol.20, no.1, pp.1-27, 2021 (Released:2021-03-31)

著者

稲山 玲

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.18, no.1, pp.53-69, 2019

著者

Oriza HIRATA Hiroko MATSUDA Tim KEENAN

出版者

Japanese Society for Theatre Research. Comparative Theatre Section

雑誌

西洋比較演劇研究 (ISSN:13472720)

巻号頁・発行日

vol.12, no.1, pp.29-118, 2013-03-15 (Released:2013-03-15)