著者
松永 直美 矢吹 信喜 亀山 勇一 福田 知弘
出版者
日本建築学会
雑誌
日本建築学会計画系論文集 (ISSN:13404210)
巻号頁・発行日
vol.81, no.728, pp.2317-2326, 2016

&nbsp;This study was conducted to consider the factors related to change in Noh stage style using <<<i>johakyu go dan</i>>> (<i>johakyu</i> five parts), which was established by Zeami (1363-1443) as &ldquo;The grammar of Noh.&rdquo; To this end, we examined the relations between Noh stage (<i>jo</i> zone, <i>ha</i> zone, and <i>kyu</i> zone) and musical accompaniment and dancing by employing three-dimensional computer graphics (3DCG) and statistical methods.<br>&nbsp;Research was conducted with emphasis on the relation between the following two points as a method to clarify the factors of change in Noh stage after Zeami&rsquo;s time. 1) Zeami changed ancient Chinese three-part <<i>johakyu</i>> to the five-part style of <<<i>johakyu go dan</i>>>, incorporated it into Noh scripts with dancing, chanting, and musical accompaniment, and formulated the basic principle: &ldquo;The grammar of Noh.&rdquo; 2) Areas for <<i>johakyu</i>> exist on a Noh stage, each of which has a conventional direction method. It is designed to enhance stage effects to a great degree.<br>&nbsp;The following findings were obtained:<br>&nbsp;1. We tried to extract <<i>johakyu</i>> from data of small hand drums, shouts, and dancing. The results led us to observe the following characteristics of <<i>johakyu</i>>: &ldquo;The part of <i>jo</i> is light, and the expression is slightly rough, &rdquo; &ldquo;<i>Ha</i> delicately folds ups and down, adds a little relaxation, and keeps a moderate speed, &rdquo; and &ldquo;<i>Kyu</i> is very fast and tense, and the tempo becomes faster.&rdquo; Furthermore, in the part called &ldquo;<i>kuse</i>&rdquo; in which the most characteristic acting is performed in a Noh drama, the characteristics of <<<i>johakyu go dan</i>>> were noticed clearly.<br>&nbsp;2. Results of statistical analysis revealed correlation existed between each zone and each area of <<i>johakyu</i>> of Noh stage and dancing and musical accompaniment (small hand drums and shouts) of <<<i>johakyu go dan</i>>>. Therefore, we found that <<<i>johakyu go dan</i>>> might be involved in change in Noh stage style.<br>&nbsp;Noh was mainly a Shinto ritual until the Heian period (794-1185). It had been developed and initiated by shrines and temples. After the Kamakura period (1185-1333), public entertainment such as <i>Kanjin</i> (temple solicitation)-Noh performance rose suddenly and reached its prime during the Muromachi period (1336-1573). Coupled with that, shoguns and court nobles came to play the role of Noh supporters instead of shrines and temples. <<<i>Johakyu go dan</i>>> was effective to attract shoguns and nobles with performance as seen in <i>Fushikaden</i> written by Zeami. It is considered that the construction of stage space was necessary to practice <<<i>johakyu go dan</i>>> effectively.
著者
丸山 奈巳
出版者
日本建築学会
雑誌
日本建築学会計画系論文集 (ISSN:13404210)
巻号頁・発行日
vol.77, no.674, pp.887-896, 2012-04-30 (Released:2012-07-02)

In the Edo Period, the once-in-a-lifetime performances of noh required large spaces. In these cases, the sites of the theaters were usually built on open spaces intended as firebreak, controlled by the Fushin-bugyo. The Machi-bugyo had jurisdiction over the city area and Noh performances. During the performance, the jurisdiction of the open space shifted to the Machi-bugyo. Under the Machi-bugyo jurisdiction, the noh actor had to look after the site and the buildings during the performance period. The Shognate worked out systems to ensure the safety of the open spaces in the large city of Edo.
著者
植松 清志 中嶋 節子 谷 直樹
出版者
日本建築学会
雑誌
日本建築学会計画系論文集 (ISSN:13404210)
巻号頁・発行日
vol.65, no.530, pp.221-227, 2000
参考文献数
50

This study is intended to elucidate the situation with the early stage of the Osaka Kurayashiki of the Saga Feudal Clan, changes in the premises, the architectural configuration and functions. The specific situation with the Osaka Kurayashiki can be presumed from the Tamatsukuri yashiki built in 1597. This yashiki is confirmed to have existed by November 6, 1600, but its subsequent existence is unknown. In 1605, the existence of the Temma yashiki was found. This yashiki had the feudal lord's residence called "onyakata" and a rice granary. It provided the functions of the upper and lower yashiki. The onyakata in the Genroku era consisted of various spaces for reception of customers, living facilities, services, a public office, and other purposes. As it was extended or rebuilt several times, those spaces were reorganized and improved. At the onyakata in the Kyoho era, the apace for the reception of customers was established and the independence of the space for living facilities was achieved. For this Purpose, "mura (hamlet)" and "akichi (opening)" were laid out to identify the function of each space.