著者

瀬戸 宏

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.72, pp.160-164, 2021-06-15 (Released:2021-06-29)

著者

堤 春恵

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.66, pp.107-120, 2018-06-30 (Released:2018-06-30)

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With the end of its isolation in 1854 and fall of the Tokugawa shogunate in 1868, Japan moved towards westernization. Following the new government's policy, an ambitious theater manager, Morita Kan'ya, became involved in an attempt to westernize Kabuki. In 1879, Kan'ya produced a new Kabuki play, The Wanderers' Strange Story: A Western Kabuki at his theater in Tokyo. This unusual Kabuki play dramatized the progress of a Japanese group travelling throughout the United States and Europe. In Paris, the main characters visited the Opéra and watched The Grand Duchess of Gerolstein by Offenbach, Daughter of the Regiment by Donizetti, and The Daughter of Madame Angot by Lecoq.Unfortunately, this production was a commercial failure because the Japanese audience, who had never witnessed any theater other than traditional Kabuki, could not appreciate operatic singing.A troupe known as the Royal English Opera Company performed these operas as plays within a play. The troupe's leader, Howard Vernon, and the prima-donna Elcia May were from Australia. Before coming to Japan, the troupe visited British colonies. After their productions in Tokyo, Vernon and May returned to Australia and in 1880 appeared on stage at one of Melbourne's major theaters. Newspaper reviews indicated that their performance was well received in British colonies including Melbourne, Australia's theatrical center.

著者

ルストム バルーチャ 平井 正子

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.36, pp.1-24, 1998-05-15 (Released:2019-11-11)

著者

天野 文雄

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.37, pp.65-96, 1999-09-30 (Released:2019-11-11)

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In the section 14 of Sarugaku dangi, one of his treatises on Noh, Zeami writes as a footnote, “Kasama no noh is not appropriate nowadays.” We may assume that this is a play called Yasu-inu, which has been excluded from the actual repertories of Noh plays. There are two questions to be answered. (1) The question whether this play was written in Zeami's days or had been done before. In other words, whether Zeami criticized a contemporary play or was against reviving the old play. (2) The question why Zeami regarded this play inappropriate at the time. The play deals with Yasu-inu, the son of a military man who revolted against the Kamakura-fu, the administrative office in Kamakura in the begining of the Muromachi Period. Kasama, the waki of the play, comes to arrest him and a fighting ensues.In the process of finding answers to these questions one also will find what the situation of the noh actors under the patronage of Shogun was; Zeami was definitely one of them. Moreover, by examining this play, one can detect important influences of other noh plays on it, and vice versa.

著者

菅 泰男

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.41, pp.255-273, 2003-12-15 (Released:2018-12-14)

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This is the proceedings of the JSTR (Japanese Society for Theatre Research) Colloquium 2002, which took place in Kyoto December 7 and 8, 2002. The Colloquium was held in commemoration of the closing of the Kansai Branch of JSTR after its 50 years' activities. The proceedings consist of (1) the opening speech of the chair of the Branch, Professor GONDO Yoshikazu, (2) the keynote speech by Professor SUGA Yasuo, who is one of the original members of the Branch, (3) a speech by Professor YAMAZAKI Masakazu, a well known playwright and critic, who had taught at Osaka University for many years, (4) two interviews and a symposium on the Kansai theatre's 50 years, and (5) the history of Kansai Branch of the JSTR.

著者

河竹 登志夫

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.241-254, 2005-10-01 (Released:2018-12-14)

著者

後藤 淑

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.4, pp.28-39, 1961-03-20 (Released:2021-11-17)

著者

川崎 賢子

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.62, pp.123-127, 2016-05-30 (Released:2016-06-07)

著者

難波 博孝

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.40, pp.61-76, 2002-11-30 (Released:2018-12-14)

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A dialogue piece by Oriza Hirata, one of the most promising playwrights and directors in the present theatre scene in Japan, was utilized in a textbook for junior high school students.The present paper examines characteristics and limitations of Hirata's text. It vividly demonstrates how a conversation of young Japanese people functions; they do not say what they really want to say, keeping a “proper” distance between themselves. However, Hirata urges pupils to be engaged in a more meaningful “dialogue”, and thus sets up a teacher-student relationship based on openness and evaluation.If we want to develop the potentials of Hirata's text, it should be an object of free discussion by students to get an insight into the nature of their “ordinary” conversation.

著者

竹田 恵子

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.58, pp.73-89, 2014 (Released:2017-01-06)

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This paper about performance piece S/N (1994) created by artist group Dumb Type investigates the citations of previous works by Dumb Type members or other artists. Then, it illustrates the structure of the performance piece by using interviews about the creation process and the recorded performance analysis of S/N.In previous reviews, Dumb Type was reported to value the equality among the members in terms of participation in the creative process. In addition, Dumb Type was said to prevent the control by a single author/director on the performance piece. At first sight, hybridity, or decentralization, is the initial characteristic of S/N. The performance's elements are juxtaposed on the stage, including texts, moving bodies, synthesized music, lighting, performers' dialogue, and the projection of moving images.In consequence, however, citations and the original creation portion on S/N are aligned along two main themes consistently. S/N has a structure in which similar parts repeat and develop.The relationship between the creation of S/N and FURUHASHI Teiji, who informed his close friends about his HIV-positive status just before the creation, will need to be investigated further.

著者

譲原 晶子

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.55, pp.1-19, 2012

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<p>The "ballet d'action", meaning the "ballet with a narrative or a story", was a genre of ballet that emerged in the 18th century. This genre originally sought for becoming a "drama". Although it later underwent such a change that it became, by the age of the Romanticism, a sort of spectacle, and although its narratives then came to be seen merely as pretexts or "texts as excuse" for the spectacle, what had been achieved in the earlier stage of the development of "ballet d'action" seems to have had significant influence on dramatic dances which flourished in the twentieth century. So I question, in this paper, how and in which way the early "ballet d'action" was able to construct itself as a kind of "mute drama", without ignoring, of course, also the spectacular aspect of it.</p><p>I first examine articles of performance reviews at that time to find pertinent successful pieces and then analyze the scenarios. As a result, the following observations are possible. Main characters of "ballet d'action" are often getting absorbed in something: a device that creates such situations where they can remain totally mute. For instance, they are getting absorbed in a game of love (as is seen in many pieces) or artistic creation (as in <i>Pygmalion</i> or <i>Apelles et Campaspe</i>), or getting self-absorbed as in <i>Dansomanie</i> or <i>Somnambule</i>. At the same time, certain inner conflicts of the characters undoubtedly accompany these absorptions. Further, those actions of being absorbed in something are often superposed on swiftly changing, spectacular "tableaus" on the stage. Consequently, the main characters' inner conflicts can stand out in contrast to the balletic background.</p>

著者

譲原 晶子

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.55, pp.1-19, 2012

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<p>The "ballet d'action", meaning the "ballet with a narrative or a story", was a genre of ballet that emerged in the 18th century. This genre originally sought for becoming a "drama". Although it later underwent such a change that it became, by the age of the Romanticism, a sort of spectacle, and although its narratives then came to be seen merely as pretexts or "texts as excuse" for the spectacle, what had been achieved in the earlier stage of the development of "ballet d'action" seems to have had significant influence on dramatic dances which flourished in the twentieth century. So I question, in this paper, how and in which way the early "ballet d'action" was able to construct itself as a kind of "mute drama", without ignoring, of course, also the spectacular aspect of it.</p><p>I first examine articles of performance reviews at that time to find pertinent successful pieces and then analyze the scenarios. As a result, the following observations are possible. Main characters of "ballet d'action" are often getting absorbed in something: a device that creates such situations where they can remain totally mute. For instance, they are getting absorbed in a game of love (as is seen in many pieces) or artistic creation (as in <i>Pygmalion</i> or <i>Apelles et Campaspe</i>), or getting self-absorbed as in <i>Dansomanie</i> or <i>Somnambule</i>. At the same time, certain inner conflicts of the characters undoubtedly accompany these absorptions. Further, those actions of being absorbed in something are often superposed on swiftly changing, spectacular "tableaus" on the stage. Consequently, the main characters' inner conflicts can stand out in contrast to the balletic background.</p>

著者

藤井 慎太郎

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.76, pp.33-52, 2023-06-15 (Released:2023-07-01)

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This article focuses on the recent phenomenon of the ‘archival turn’ in performing arts, occurring since the 1990s, with examples taken from Japan and French-speaking countries/regions, as well as research conducted in French, English and Japanese. The archival turn implies that archives have shifted from being the means to the purpose — that is, the centre of interest — of both research and practice in the performing arts. As a result, an increase in documents/archives and documentary (or archives-related) practices was observed. Technological progress has made it easier to record, document, store and share. It should also be noted that, after Foucault and Derrida wrote on the matter, the singular form of the term ‘archive’ came into use with more abstract connotations, free from archives as cultural facilities. The temporalities of a performance have also changed from being ephemeral and unique to being more durational and reiterative. The re-enactments of past performances, which have significantly increased, can be considered documentary practices. Contemporary documentary theatre seems to join this trend in the archival turn, as shown in the work of Milo Rau and others.

著者

阿南 順子

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.31-46, 2005-10-01 (Released:2018-12-14)

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In the 1970s and 1980s, KISHIDA Rio mainly focused on how the Emperor system affected Japanese women. However, in the 1990s, through collaborations with artists from other Asian countries, she extended her focus to non-Japanese Asian women who had been subjugated by Japan's colonial policy during the first half of the twentieth century. Bridging these two foci is Tsui no Sumika Kari no Yado (1988), a play about Kawashima Yoshiko, a Chinese princess in the Qing dynasty, who was adopted by a Japanese couple. This paper examines the way that women and the Emperor system are portrayed in this play, and how that contributes to our understanding of gender and nationality.

著者

横山 義志

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.52, pp.1-25, 2011 (Released:2018-01-12)

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Why did the Europeans invent a non-musical theatre? We can find the origins of this idea in Aristotle and Peripatetics theory on acting. Recent studies have shown that the modern Occidental theories of acting have been largely inspired by the actio theory of Roman rhetoric. The conceptual association between the actor and the orator is Aristotle's invention.The Peripatetic thinkers use the term “acting (hupokrisis)” especially to criticize Demosthenes. For the Peripatetics, his discourse was as much vulgar as the acting of theatre actors, because he spoke to please the masses. This critique reflects the political context, which opposes the pro-Macedonian Peripatetic school and the anti-Macedonian democratic orator.In Peripatetic rhetoric, the indicator of vulgarity is the tendency to sing and to dance, which aims to enhance the sensational reaction of the audience. This criterion is applied not only to the orators, but also to the stage actors — in Poetics, Aristotle invents, in a way, a theoretical non-musical theatre, excluding the singing actors.This is tentative to establish a new model of “true-saying”, which could be substituted for the archaic and Platonic model, based on the magical power of singing. This Aristotelian new model of true-saying founded the modern European theatre, as well as science and capitalism.

著者

近藤 直樹

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.75, pp.112-113, 2022-12-15 (Released:2023-01-07)

著者

田中 徳一

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.50, pp.143-162, 2010 (Released:2018-01-12)

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Erwin Toku Baelz (1889-1945), the eldest son of Erwin Baelz, the man who contributed to the development of modern medicine in Japan, adapted and directed the fifth and sixth acts of a kabuki play Kanadehon Chushingura, and staged a German kabuki play named Death of Kampei (German title: Sampei's Sühnenopfer) in Berlin in 1938, enacted by the students of a drama school affiliated to Deutsches Theater. Although the performance was staged by German actors in German, the script was mainly based on joruri, a Japanese dramatic narrative; furthermore, other elements such as narrations, the way the actors delivered their lines, the acting, costumes, stage props and stage equipment were made close to those of genuine kabuki. It is considered that this was the first such trial in Europe before World War II. This paper describes the background to the performance of the German kabuki, the performance on the stage, the public response and critics, mainly based on primary sources, obtained from the Federal Archives in Koblenz.

著者

田中 均

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.67, pp.55-70, 2019-03-15 (Released:2019-03-20)

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In this paper, I reconstruct the theatre theories of Hans-Thies Lehmann (1944-) and Christoph Menke (1958-) by focusing on their dialogue - their commentary and argument - with each other. In Postdramatic Theatre (1999), Lehman refers to Menke's interpretation of Hegel's theory of tragedy. He also discusses Menke's theory on the outdatedness of tragedy in Tragödie im Sittlichen (1995) to bolster his claim that drama itself is outdated. What Lehmann does not mention, though, is that Menke argues for the existence of "the tragic" in modernity at the same time.In Tragic Play (2005), Menke argues that the presence of "modern tragedy" is a manifestation of metatheatre characterized by the failure of attempt, or by the failure to transform praxis through theatrical play. Menke criticizes Lehmann for admitting the possibility of "postdramatic theatre without drama" on the grounds that postdramatic theatre as metadramatic theatre must contain a dramatic moment or layer. Lehmann objects to the criticism, saying that in contemporary society play and reality are so mixed that contemporary theatre cannot remain in a dramatic framework.I conclude that the dispute between Lehmann and Menke lets us reflect on the fundamental question of the relationship between theatrical play and social practice.

著者

木下 耕介

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.70, pp.71-90, 2020-06-15 (Released:2020-07-07)

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This paper examines the possibility of applying the theoretical findings of the Proteus effect, recently proposed in the field of computer game studies, to theater and film studies.The Proteus effect is a psychological effect which is observable in the (tele-) communication environment of virtual reality, or in the play environment of a computer game when utilizing its players' avatars (visual representations of participants) in a virtual space.The Proteus effect is that the personality traits implied by the appearances of avatars have a lasting and modifying effect on the participants' own behaviors and values.This article focuses on the similarities between VR communication environments and theatrical performances. In either case, it can be argued that communication in a broader sense is established by participants wearing the appearances of others.From this perspective, this paper attempts to argue the two following points. The first is confirmation that the appearances of fictional characters, which have so far attracted little theoretical attention, actually contribute to the quality of acting. Secondly, this paper recognizes an actor-like quality in the participants of cyberspace communication and in the players of computer games. By asserting the actor-like quality in these participants and game players, this thesis proposes a comprehensive perspective for discussing the role of participants of VR communication environments along with computer game players, and theatre and movie audiences.

著者

埋忠 美沙

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.62, pp.17-33, 2016-05-30 (Released:2016-06-07)

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This paper discusses Kabuki's role as a news media by comparing kabuki performances staged during the Satsuma rebellion (1877) to those concerning the Sino-Japanese war (1894-1895). In previous research, the negative reception of plays on the topic of the Sino-Japanese War has been considered as sign of Kabuki's inherent inability in dealing with modern warfare, and the reason why Kabuki turned away from staging plays on contemporary topics. However, the play Okige no kumo harau asagochi (1878) depicted the battles of the Satsuma rebellion, using a script based on newspaper articles, and incorporated realistic details of modern warfare, such as cannons, trumpets, commandments and marches on stage, yet received rave reviews. This paper analyses the success of this play, by comparing it to the play Nihon dai shōri (1894), which used newspaper articles from the Sino-Japanese war as a basis for its script. I will show that, contradictory to what has previously been argued, Meiji period Kabuki was not inherently incapable of dealing with modern warfare, and discuss what implications this has for re-considering Kabuki as one form of news media in the early 20th century.