著者

關 智子

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.66, pp.25-44, 2018-06-30 (Released:2018-06-30)

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In this paper, the possible authority of a text for its performance is discussed through an analysis of Nassim Soleimanpour's White Rabbit, Red Rabbit (2010). Soleimanpour included rigid instructions requiring actors to not know anything about the play before each performance and for the text to be given to them on stage. In such conditions, the play becomes a semi-improvisation; thus, the dramaturgy of the text appears to dominate the performance. Indeed, the text orders the actor and audiences to perform exactly as it instructs, so it even claims its authority. However, the writer intentionally leaves a lot of space for ‘play’, since he cannot become involved with the participants (actors and audience) in the text. This reminds the audience of the fact that it is not the author who creates a performance but themselves. In other words, it problematises authority and authorship in the theatre. Therefore, the dramaturgy of White Rabbit, Red Rabbit attempts to foreground the authority of the text and construct new relationships between text and performance and writer and participants. Through the study of this play, we can perceive new possibilities of textual dramaturgy for contemporary theatre in which the relationship between text and performance diversifies.

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.55, pp.43-65, 2012

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<p>In my previous article "Aristotle's Theory on Acting", I showed that Aristotle's idea was a theoretical source of the European modern non-musical and prosaic theatre. But we can find another theoretical source which defends a musical and versified theatre in the thought of Middle Stoa, especially of Diogenes of Babylon (c. 240-c. 152BC), restored thanks to a new edition of Philodemus' <i>On Music</i> (2007).</p><p>Referring to Plato's theory of musical education, Diogenes justifies the Hellenistic form of the tragedy performance, focusing on the solo chant of "tragic singers [tragôidoi]". This celebration of musical theatre is also based on the Stoic view of language and religion, which favours musical and versified speeches, considered as a natural manifestation of the greatness of gods and virtuous men, and as an auto-celebration of the life itself. According to Heraclides Ponticus, a pupil of Plato, Diogenes affirms that the musical acting practice can lead to all virtues. This theory considers the acting [hupokrisis] not as an act of disguising ("hypocrisy"), but as the means of constructing oneself as a virtuous man, referring to the model of "tragic singers" who construct their musical body through everyday training. This way of thinking about the musical, acting body offers a vision totally different from Aristotle's, who considered the same kind of body as the body of a slave.</p>

著者

日比野 啓

出版者

日本演劇学会

雑誌

演劇学論集 (ISSN:13482815)

巻号頁・発行日

no.41, pp.59-81, 2003

著者

上村 以和於

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.49, pp.113-125, 2009 (Released:2018-01-12)

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Japan was under the wars between 1931 and 1945 (the Fifteen Years War). This paper attempts to see various aspects of kabuki and other plays at that time of Japan through the famous magazine “ENGEI GAHOU”, Graphic Magazine of Plays, which was the most popular theatrical magazine and reflected most moderate opinions at that time. We will find many interesting movements of theatrical world of Japan at the war age.

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.33, pp.40-58, 1995-05-10 (Released:2019-11-11)

著者

園部 友里恵

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.60, pp.47-67, 2015 (Released:2017-01-06)

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The purpose of this research is to clarify the trends of activities of theatre involving elderly people, and the aims of the activities through analysis of newspaper articles in Japan.This research extracts 672 articles from three newspapers in Japan and classifies them into two categories, “watching” and “performing”. “Watching” means that elderly people watch performances by those of younger generations. “Performing” means that elderly people themselves perform. The first article referred to as “watching” appeared in 1953, and that which is referred to as “performing” appeared in 1971. The occurrence of both activities has been increasing since the late 1980s.The aims of “watching” mentioned in the articles are classified into four categories: “comforting the elderly”, “contributing to society”, “fostering relationships”, and “calling for attention”. In the 1950s, the elderly were written about as unfortunate people. However, they gradually came to be described as learners. Therefore, theatre performances are used to support their understanding and forming of relationships.The aims of “performing” mentioned in the articles are classified into five categories: “obtaining good health, relationships, and life”, “handing down local culture and history”, “cheering up the elderly by the elderly”, “enriching ‘second life’”, and “investigating physical expression through the elderly's own body”. The main aim of theatre performances by the elderly is to live in good health and maintain a good life. In recent years, both the bodies and the expressions of the elderly are getting a lot of attention as a new theatrical approach.

著者

針貝 真理子

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.67, pp.9-29, 2019-03-15 (Released:2019-03-20)

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The concept of the “postdramatic” theatre proposed by Hans-Thies Lehmann and performances within the so-called “Flemish Wave” have influenced each other. Lehmann's concept does not criticize the use of literary texts in theatrical plays but rather the concept of the “dramatic”, which stresses actions springing from a conflict between a character (subject) and a community, or between subjects. Postdramatic theatre questions the notion of an acting subject.An extreme example of this questioning can be found in The Lobster Shop by Needcompany, one of the most important Flemish performance groups. The piece, which is aimed at building a theatrical place of the “future”, shows, according to Nicolas Truong, “the end of grand narratives and the blotting out of ideological alternatives to global capitalism”. What merely seems to be the central plot told by the performers is full of contradictions and is interrupted again and again by marginalized characters. In these interruptions, the play gives priority to the marginalized subalterns who are forgotten in “grand narratives” and exploited in the system of global capitalism.In the last scene, a subaltern character, who appears threatening but at the same time pitiful, remains alone on stage. An excess of incomprehensible images in this character transcends the idea of a dramatic or performing subject. At this moment neither an acting subject nor any shared future has yet been performatively produced, but these are, in the words of Werner Hamacher, “afformatively” interrupted. Postdramatic theatre emphasizes the importance of this “afformative” dimension which calls a “strike” at the “factory” of performative success within a compulsive capitalism.

著者

田中 昌司

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.74, pp.21-40, 2022-06-15 (Released:2022-06-22)

著者

小笠原 幹夫

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.26, pp.1-10, 1988-05-20 (Released:2019-11-11)

著者

井上 理恵

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.43, pp.3-14, 2005-10-01 (Released:2018-12-14)

著者

山崎 構成

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.12, pp.37-47, 1971-03-30 (Released:2020-12-14)

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

渡辺 保

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.181-202, 1999-09-30 (Released:2019-11-11)

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A man of religion, Shunkan, is a historical figure, who was exiled to Iwojima on a charge of conspiracy against the military rulers, the Heike. The story is related in the great epic about the vicissitude of the Heike family in the 12th century, The Tale of the Heike. Shunkan's story was dramatized as a noh play, Shunkan. This noh play was employed as the basic material for a scene in a ningyo-joruri (puppet theatre) play, Heike-nyogo-no-shima, written by Chikamatsu Monzaemon in 1719, which in turn was transformed into a kabuki play the following year. Kurata Momozo wrote his Shunkan in 1919, not after any of the preceding plays, but after the epic, The Tale of the Heike.In short, the theme of the epic Shunkan is the powers of religion and political connections, while the noh play expresses a deep despair of a lonely man in exile. Chikamatsu's Shunkan is bound by the love of family, and the kabuki play presents a visually dramatic figure of the head of a family, Shunkan, as hero. Kurata's writing draws upon his own agoines as a modern man, particularly in relation to making of ego, betrayal, jealousy, etc. Yet, the narrative aspect remains in all these works, and the examination of changes of Shunkan through the ages may suggest a new dramaturgy for the future drama.

著者

神山 彰

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.38, pp.45-65, 2000

著者

小菅 隼人

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.74, pp.141-146, 2022-06-15 (Released:2022-06-22)

著者

松田 存

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.11, pp.24-30, 1970-02-10 (Released:2021-11-17)

著者

山内 登美雄

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.19-44, 1999-09-30 (Released:2019-11-11)

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A human being has a feeling or an emotion when he or she is put in certain circumstances and decides what to do, judging the value of his or her responding physical actions. But what is the relation between the inner feeling and the outer action in the fictitious character of a play when an actor actualizes it on the stage? An actor cannot have a real feeling or emotion on the stage and yet paradoxically has to act in the given circumstances as if he were really having a feeling. Stanislavski describes this relationship in his Creating a Role. He says that if an actor analyzes and shows exact physical actions of the character in the cirsumstances indicated in the play, examining the lines of the character, a real feeling emerges in himself. Stanislavski is reversing the process from feeling to action in real life, and if the emergence of a feeling is not always assured for an actor, the audience will assume from the exact imitation of physical actions that the character is having a real feeling, and can have an empathy with the character. This theory reminds us of the famous paradox of acting that Diderot advocated more than 100 years before Stanislavski.

著者

森 佳子

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.74, pp.122-129, 2022-06-15 (Released:2022-06-22)

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.74, pp.130-131, 2022-06-15 (Released:2022-06-22)

著者

菊川 徳之助

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.105-119, 2010 (Released:2018-01-12)

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I have engaged myself in theatre education and theatre research, teaching students theatre practice and theory at university, while at other times occupying myself in theatre activities as director, actor, and so on. For Japan to be Japan, a book by Junji Kinoshita, gave me a starting point for theatre research. This book taught me significantly about the concept of play and its structure, and that of theatre and its structure. Kinoshita's view of catharsis is especially intriguing for me, pointing out the issue of “qualitative conversion of values” and, at the same time, stating that theatre, therefore, inherently and independently, has substance to “change” an audience.Nonetheless, a kind of self-contradiction occurred to me. It would be generally typical to verify by means of practice what one has pursued in theory, or, conversely, to base one's practice on theory. Although I meant to think of theatre research through theatre practice, as a matter of fact, I did not do so. I have never “staged” a Kinoshita play. Furthermore, I have directed quite a number of plays by Bertolt Brecht; however, I have never written a “paper” of Brecht studies. There would be some reasons, and it seems certain that there lies some contradiction of sorts.This paper reflects on theatre research from two perspectives, with a mind to future theatre research and joint research.