著者

寺田 詩麻

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.65, pp.105-111, 2017-11-30 (Released:2017-11-30)

著者

日置 貴之

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.67-79, 2016-05-30 (Released:2016-06-07)

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This paper analyses the function of newspapers in Kawatake Mokuami's Suitengu Megumi no Fukagawa (1885), one of the most famous zangiri-mono plays (kabuki plays depicting the society after the Meiji Restoration). Especially well known are the scenes in which destitute ex-samurai Kobei goes insane, and Kobei surviving his suicide attempt because of a miracle by the Suitengu Shrine deity. In previous studies, the stylistic acting and direction of this play have been highly regarded. This paper, however, analyses how newspapers connect Kobei's family to the people who helped them. Mokuami used newspapers as props in other zangiri-mono plays. Typically, they function as a medium, which neutrally provides information to the characters. In Suitengu Megumi no Fukagawa, however, the newspaper tells the general public about Kobei and his family's difficult situation, which leads to numerous people donating money to the family through the newspaper. Thus, Kobei and his family are not only saved by the miracle of the Suitengu Shrine deity, but by the contributions to the newspaper which helps bring about the happy ending of the play. In this paper, I discuss how Mokuami incorporates as a plot device the contemporary vogue for donating through newspapers. This indicates a shift in society's perception of the role of newspapers, increasingly seeing them as tools for social intervention, not merely providers of information.

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

梅山 いつき

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.46, pp.123-145, 2008 (Released:2018-01-12)

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Many experimental theatre troupes, known as Angura (underground or avant-garde theatre), emerged in the middle of the 1960s, a theatrical movement that rapidly gained influence from 1966 to 1970. Today, Angura is regarded as an important movement in Japan, but research on it remains insufficient. What was the theatrical movement Angura?Engeki Centre 68/71 is considered to be the most political theatre troupe of the Angura movement. The Dance of Angels Who Burn Their Own Wings was written by four playwrights of the Centre in 1970. This play deals with the French Revolution to express the Centre's idea of revolution. Angura is concerned simply with a counter culture or political movement; as most of Angura's artists participated in a campus activism and their plays were often radical. The characters in this play are unable to achieve a revolution. However, this failure of a revolution does not suggest the limit of Angura; rather, it prevents the revolution from falling into self-contradiction. Through analyzing the text, it could be said that The Dance of Angels Who Burn Their Own Wings represents the Centre's struggle to avoid getting into such a simple revolutionary movement.

著者

大岡 欽治

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.18, pp.70-82, 1979-10-15 (Released:2020-12-14)

著者

飯田 隆夫

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.76, pp.1-16, 2023-06-15 (Released:2023-07-01)

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Since the middle of the Edo Period, several long, wooden swords had been dedicated to the Sagami-Ohyama Sacred Place (the Temple & Shrine), located in the sacred mountain of Ohyama. It is believed that this custom was based on the historical facts written in Azuma Kagami, according to which Hojo Masako devoted the guarding sword when she gave birth to a boy. Other versions believe that the custom began as a samurai prayer for their martial arts, which was later imitated by people using wooden swords. However, disputing these popular explanations, this thesis attempts to prove that Ichikawa Danjūrō I was the key person who developed this custom. In 1690 (Genroku, 3rd year), he promised to offer long, wooden swords to Acala (Fudo Myoo) of Ohyama in gratitude for his advanced acting techniques if he could perform the role of Edo kabuki, a character with a superior sword with supernatural powers derived from the Acala. In fact, a craftsman of Nakabashi-okemachi had first attributed a long, wooden sword to the Ohyama Afuri Shrine in proxy of Danjūrō.

著者

根岸 理子

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.53, pp.43-59, 2011 (Released:2018-01-12)

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In this paper I will re-evaluate Hanako using materials from both the West and Japan.The first point to note is that Hanako had begun her career not only as a geisha but also as a child actor in female actors' companies before she went to the West. At the same time, since all professional Kabuki actors were men, female actors had to model themselves on their male counterparts and thus Hanako learned traditional Japanese acting techniques such as mie or how to perform hara-kiri.The American producer Loie Fuller made Hanako perform hara-kiri scenes at first, but it was Hanako's resolution to keep performing those scenes until the end of her career. They were good opportunities for Hanako to display her technique, and Western and Russian artists were indeed impressed by her skills.Although Japanese journalists spoke ill of her appearance, their criticism was in fact a proof of her talent as an actress. Hanako was certainly the actress who brought ‘Japan’ in the early 20th century and it may safely be said that she left a strong image of the typical Japanese actor, who was skilful and versatile, to the Western audience prior to the arrival of authentic Kabuki actors.

著者

山根 為雄

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.25, pp.35-44, 1987-04-10 (Released:2020-12-14)

著者

小林 志郎

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.20, pp.1-12, 1982-09-30 (Released:2020-12-14)

著者

岡室 美奈子

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.41, pp.21-40, 2003-12-15 (Released:2018-12-14)

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“The theatre of the absurd” exerted a siginifincant influence on the works of Minoru Betsuyaku, one of the leading contemporary playwrights in Japan. This paper explores Betsuyaku's insight into Samuel Beckett's En attendant Godot (Waiting for Godot), Fernando Arrabal's Piquenique en campagne, and Eugene Ionesco's La Leçon, the insight which is reflected in his plays and essays. But Beckett's play, in particular, illuminates the structure of Betsuyaku's plays such as Umiyukaba Mizuku Kabane and Nishimuku Samurai. In these plays Betsuyaku makes Beckett's dramaturgical strategy his own in significant respects.

著者

村島 彩加

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.63-83, 2011 (Released:2018-01-12)

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So far, theatre photography in Japan in the time between the end of Edo era and the end of Meiji era has received little attention in theatre research: Actors' stills have been seen good for nothing because they were not pictures taken on the stages but in the studios, where actors made up and wore costumes just as if they were having their pictures taken in performances.My assertion is that this tendency in research should be corrected, because, as in the case of ICHIKAWA Danjuro IX, it is undeniable that we can perceive certain quality of the actor's ideal of acting reflected in his stills. In this context, my paper, seemingly the first attempt to examine the still pictures of Kabuki actors at the time, discusses the significance of those pictures by way of seeing them from the intersection of media- and theatre-history.The major discussions are two. (1) Although at the beginning the photograph technology was so primitive that it could not surpass the prevailing Ukiyo-e woodcut as the mainstream to portray Kabuki actors' images, the technological developments both in photographing and printing changed the situation in such a way that theatre photographs now became a popular media “genre.” (2) In the 1890's, Kabuki was regarded as an old-fashioned theatrical form, which led to see Kabuki as a historical phenomenon whose arts should be preserved by being photographed.

著者

清水 豊子

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.26, pp.37-45, 1988-05-20 (Released:2019-11-11)

著者

河野 英二

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.69, pp.19-45, 2019

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<p>Karl Kraus' satirical drama <i>The Invincible</i> (1928) was his reaction to two crises with which the Austrian First Republic confronted in the 1920s. The first being corruption in the field of journalism by the revolver press (<i>Die Stunde</i>) by Imre Békessy, and the second being the political regression demonstrated by Johann Schober, the police chief. It was Schober who was responsible for the police massacre of demonstrating workers on July 15,1927, and this resulted in Kraus writing this drama.</p><p>In this drama, Békessy and Schober appear as pseudonyms, <i>Barkassy</i> and <i>Wacker</i>, respectively. Their lines, mostly in self-defense of their actions, are founded on quotations from their own utterances, which Kraus documented in his polemic with them in his magazine <i>Die Fackel</i> (here <i>Der Pfeil</i> with the publisher <i>Arkus</i>). Based on the fact that Békessy was expelled from Vienna as a result of the criticism from Kraus, this caricatural semi-fiction shows the process in which <i>Wacker</i> becomes an apprentice to <i>Barkassy</i>. In this way, the criminal fact became more obscured with the police and journalistic powers, and the two became conclusively "invincible". In the drama, the black humor culminates in the operetta song that <i>Wacker</i> sings.</p><p>The quintessence of this drama, however, exists in the scene where <i>Hinsichtl and Rücksichtl, Wacker's</i> subordinates who are personifying the language as "the most reliable traitor", cite the report concerning the objective fact of the massacre, thus exposing their unpunished and unrepentant boss. In the context of this drama, these quoted words appeal to the conscience of the recipient as an incomparable accusation, even though they were not actually written as an accusation in and of itself. This effect is due to a performance of the language, which avenges itself here for its abuse. Thus, one can get a clue to the conservatism of Kraus as a language admirer and a reading solo performer. From this perspective this drama provides an actual redemption for the theater-arts to potentially fight against post-truth situations.</p>

著者

王 翀 田村 容子

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.72, pp.43-61, 2021-06-15 (Released:2021-06-29)

著者

由紀 草一

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.41, pp.41-57, 2003-12-15 (Released:2018-12-14)

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What is new about TSUKA Kôhei's plays? He was born in 1948, in the middle of the so called “period of baby-boom” after the World War II. When he was a student in Tokyo in the late 1960s, he witnessed many new plays by new avant-garde playwrights. He learned a lot from them, but refused their concept of history. They tried to visualize on the stage postwar history, in which their characters lived their own lives. But Tsuka's characters are free from that history and live on their own. Instead of history, bodies and passions make drama. Thus, for example, his play, Hiryuden, shows the students' revolt in the late 60s, which he experienced as a student, not as a fact but as a parody of it. A fact is criticized by means of a fiction. The play shows not past history, but a possible history. It is, nevertheless, a history, his history of the 60s, which, however, he could see only on the stage.

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.70, pp.193-194, 2020-06-15 (Released:2020-07-07)

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.67, pp.71-88, 2019-03-15 (Released:2019-03-20)

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This paper explores the new, emerging generation of directors in China in the 21st century, focusing on one of the most successful among them, WANG Chong. He received the Festival/Tokyo award for Minefight 2.0 (2013) suggesting his increasing popularity also in Japan.More than thirty years have passed since the introduction of experimental theatre into China in 1982 by the dramatists GAO Xingjian and LIU Huiyuan with the director LIN Zhaohua in their performance of Absolute Signal. The stage production of WANG Chong is striking for its thorough deconstruction of original plays as hypo-texts compared to LIN Zhaohua or MENG Jinghui, another important similar playwright.WANG shows great interest in Hans-Thies Lehmann's Postdramatisches Theater, from which he has gained great creative inspiration. It is to be said that WANG Chong's works have influenced Chinese theatrical world's concept of “postdramatic theatre”.

著者

本杉 省三

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.26, pp.11-36, 1988-05-20 (Released:2019-11-11)

著者

多田 英俊

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.60, pp.1-20, 2015 (Released:2017-01-06)

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KOUNOIKE Yoshitake (1914-1945) was a student of Bunraku puppet theatre who worked tirelessly for a decade, starting from 1935. He took an interest in Bunraku in his youth and studied Edo period literature at Waseda University, receiving guidance from senior researcher ISHIWARI Matsutarô.Kounoike's critique work can be divided into three periods; practice, establishment, and completion. In the establishment period, Kounoike wrote critiques for a non-commercial magazine edited by TAKECHI Tetsuji, who was one of Kounoike's lifelong colleagues. After he formed his critique style, he wrote more than thirty.One of the vital points of his critiques was the importance of “fuu,” (風) an artistic quality in Bunraku. Another point was a comparison of performances between two Bunraku theaters, the Hikoroku-za and Bunraku-za. Kounoike commended Hikoroku-za's performance because of their superb embodiment of “fuu”, while criticizing the performance of Bunraku-za. A third point was the sensuous importance of music in Bunraku. These critiques appeared in “Joruri Magazine”, a non-commercial theatrical magazine with a limited print run.In this article, the author performs a comprehensive study of the “Critiques of Bunraku” written by Kounoike by integrating and analyzing his critiques, all of which were not issued as research publications, but rather appeared in non-commercial magazines.

著者

舘野 太朗

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.128-134, 2016-05-30 (Released:2016-06-07)