著者

平敷 尚子

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.193-207, 2005

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<p>In 1958, TANAKA Sumie wrote a play, <i>A Woman Who Beats the Drum</i> (<i>Tsuzumi no Onna</i>), in which she imitated the structure of CHIKAMATSU Monzaemon's drama, <i>The Drum of the Waves of Horikawa</i> (<i>Horikawa Nami no Tsuzumi</i>). This paper concludes that Tanaka was interested in the characters and criticism of feudalism in the original play, but that she was dissatisfied with Chikamatsu's treatment of women. Thus, Tanaka emphasizes the importance of the spirit of women, and insists on the importance of breaking away from patriarchy. The play foreshadows the feminist movement in the 1960s in Japan.</p>

著者

平敷 尚子

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.193-207, 2005-10-01 (Released:2018-12-14)

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In 1958, TANAKA Sumie wrote a play, A Woman Who Beats the Drum (Tsuzumi no Onna), in which she imitated the structure of CHIKAMATSU Monzaemon's drama, The Drum of the Waves of Horikawa (Horikawa Nami no Tsuzumi). This paper concludes that Tanaka was interested in the characters and criticism of feudalism in the original play, but that she was dissatisfied with Chikamatsu's treatment of women. Thus, Tanaka emphasizes the importance of the spirit of women, and insists on the importance of breaking away from patriarchy. The play foreshadows the feminist movement in the 1960s in Japan.

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

著者

宮下 啓三

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.37, pp.385-406, 1999-09-30 (Released:2019-11-11)

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Late in February 1863 a play called Switzerland in Japan was performed on a temporary open-air stage in the city Schwyz in Switzerland, which happened to be the first instance of the traditional performances called “the Play of the Japanese” (die Japanesenspiele). It was a kind of Fastnachtspiel (carnival play) and was not necessarily meant to be a friendly sign to Japan but, rather, a criticism to the then ongoing attempt to establish the treaty between Switzerland and the Japanese Edo Government. But it started the tradition of “the Play of the Japanese”. Its basic structure consists of the following facts: (1) the town of Schwyz is called Yeddo (Edo), (2) people of Schwyz are called Japanese, (3) on the temporary stage a play by the court poet of Japan is performed in front of the Japanese Emperor and Emperess. This paper is the result of the investigation on the tradition of this unique play.

著者

李 応寿

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.47, pp.91-111, 2008

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<p>In 612, Mimaji (味摩之) from Backjae (百済) introduced Gigaku dance (伎楽) into Japan. The Japanese court settled him in the town of Sakurai (桜井) and opened the training school. Yasuda Yojurou (保田與重郎) ascertained that Sakurai was located on the present Sakurai Children's Park with the historical evidences. However, those evidences do not trace back beyond the mid-Heian period (平安794-1185).</p><p>I investigated a folk song of Saibara (催馬楽) and the history of Gankouji temple (元興寺), which were the pre-Heian records and documents. In addition, considering the distribution of the powers in the seventh century, and the recent excavations, etc., I reached the conclusion that Sakurai was situated around Kougenji temple (向原寺) in the present Asuka town (明日香).</p>

著者

奥 景子

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.68, pp.1-14, 2019-06-01 (Released:2019-06-01)

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The purpose of this paper is to examine how Fukuda Tsuneari (1912-1994), a Japanese critic, tried to achieve his vision of catharsis through his play Akechi Mitsuhide (1957), an adaptation of Shakespeare's Macbeth. Fukuda translated and directed most of Shakespeare's plays, and adapted some of them. It is curiously enough that Akechi Mitsuhide was staged before Macbeth by his translation.For him, Macbeth was an ideal hero to regain catharsis, which he thought was lost in the modern times. He came to think narrative possibility of history could be a formula to restore a tragedy, as Shakespeare did. Setting in the Age of Provincial Wars, he transposed Macbeth into a Japanese historical play.In conclusion, what he wanted to represent was not Macbeth itself but a historical play and tragic catharsis with it. In other words, he had to confirm it before staging Shakespeare.

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

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<p>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 <i>actio</i> theory of Roman rhetoric. The conceptual association between the actor and the orator is Aristotle's invention.</p><p>The Peripatetic thinkers use the term "acting (<i>hupokrisis</i>)" 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.</p><p>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 <i>Poetics</i>, Aristotle invents, in a way, a theoretical non-musical theatre, excluding the singing actors.</p><p>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.</p>

著者

桑原 文子

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.32, pp.29-42, 1994-05-06 (Released:2019-11-11)

著者

畑中 小百合

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.47, pp.63-89, 2008 (Released:2018-01-12)

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It was very important during wartime to provide recreations for farmers and to motivate hard work. The theatre was very useful for this purpose. In the early 1940s, the Japanese government controlled the theatre and used it to boost the wartime spirits. For examples, the JOHO-KYOKU (a part of the government) and other institutions promoted plays by farmers. The government also organized the IDO-ENGEKI-RENMEI (the federation of mobile theatre). As part of the scope of this federation, many actors and actresses went on journey to farm and mountain and marine villages to perform.Many dramatists and actors approved the policy, and they searched for stories and methods that would be agreeable to the wartime. The mainstream of the drama at this time was SHIN-GEKI (the plays of realism) but the Kabuki and dramas of older styles had a high popularity among farmers. The farmers enjoyed the realism plays by professional actors, but they wanted to see old style dramas also. Many of farmers thought that the SHINGEKI plays were difficult to understand. The SHIN-GEKI spread all over Japan in the 1940s, but the old-style plays remained in the people's hearts.

著者

山下 純照

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.1-8, 2019-03-15 (Released:2019-03-20)

著者

坂井 隆

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.225-240, 2005-10-01 (Released:2018-12-14)

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This paper examines the relation between Mae West and “camp” with reference to her biography and some films in which she stars. The examination focuses on the 1930s and 1970s, two significant periods for West's acting style; in the 1930s, she appropriates performing techniques from several unorthodox entertainers of the Belle Epoque—Bert Williams, Eva Tanguay and female impersonators—in order to establish her queer acting style (which was highly theatrical in its nature, and is later described as “camp”); but in the 1970s we see a cultural phenomenon in which her images are appropriated and commodified as an icon of camp in the field of pop culture, making a contrast with her active position in the 1930s when she appropriated other acting techniques for her style. Truly, her camp becomes a kind of “pastiche” appropriated by cultural industries in the 1970s, but this brings about a situation where her camp images circulate again in the cultural market, and this consequently saves her from oblivion. This way of regaining social visibility, though following the dominant cultural order, has potential for the strategic camp associated with “queer, or gay/lesbian, politics” in the 1990s.

著者

嶋田 直哉

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.45, pp.57-72, 2007 (Released:2018-01-12)

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A play Red Demon written by Hideki Noda has been produced in four versions since its first performance in June, 1996.; in Japanese, Thai, English, and Korean. It seems this play has been effective for more than ten years. This paper examines the reason. This play keeps an exquisite “sense of distance with reality” to politics after 9.11. And the play expressed a kind of “de-borderline-ness”, showing us memory and history.

著者

秋葉 昌樹

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.44, pp.109-129, 2006 (Released:2018-01-12)

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The present paper investigates how the course of theatre-making with ethnomethodology and conversation analysis could be incorporated into the undergraduate curriculum of educational studies, in order to make students acquire the clinical point of view. The clinical point of view is to see things not from one's own point of view but from, rather, “the actor's point of view.”It seems that the improvised theatre-making with what I cal ethnomethodology and conversation analysis helps students to direct their attention to their own “seen but unnoticed” behaviors. Thus, they will come to understand how to gain the clinical point of view to see other people as well.The paper will describe my experiences of teaching this method as a part of the educational studies curriculum.

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.45, pp.37-56, 2007 (Released:2018-01-12)

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Madame de Sade, as a perfect dialogic play, looks like the drama which accorded with Western legitimate dramaturgy. However, its essence is close to a Japanese traditional play, Noh, because an opposition of logos does not happen between the characters, who are all women. Five women ask the heroine, Rene, in sequence. “What is Sade for you?” She answers passionately, making full use of splendid rhetoric, which constitutes the structure of this drama. Her wish is so extraordinary that nobody can understand it, and it is impossible to realize it in this world. Finally, it turns out that even the very man whom she has been waiting for does not match her. Her image is based on those of heroines in Zeami's works such as ‘Hanjyo’ or ‘Kinuta,’ which show the great enthusiasm of a woman waiting for her man. In modern Japanese theater, before Misima Yukio, Kisida Kunio wrote this type of drama, ‘Saigetsu (Space of Time).’

著者

日比野 啓 林 廣親 山下 純照

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.49, pp.3-25, 2009

著者

小田中 章浩

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.3-19, 2002-11-30 (Released:2018-12-14)

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It has been repeatedly pointed out that teaching is closely related to theatre. In this special issue of ten articles on various topics, we search for a philosophy to link theatre and the art of teaching. This introductory paper offers a theoretical basis for discussion, starting with talking about an analogy between a modern theatre and the modern educational system. The attitude of the students, who are quietly and carefully listening to the teacher's talk, is similar to that of the theatre audience, especially in a modern theatre.We, then, examine some of the physical aspects of the teacher-student relationship in terms of the rise of cyberspace education including internet educational tools. This aspect of education overlaps with the so-called workshop methodology. How to make a workshop successful must be investigated with regards to the “persona” or role-playing in modern society, which is similar to a theatrical performance. Also, the Brechtian concept of “gestus” must be revalued in terms of the art of teaching.

著者

花家 彩子

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.57, pp.1-19, 2013 (Released:2017-01-06)

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This paper discusses the transformation of KISARAGI Koharu's self from the 1980s to the 1990s. In the 1980s, the theme of KISARAGI's plays was her own self. At that time, her question, ‘Why should I create theatre?’ could be interpreted as the following: ‘Why am I doomed to write and direct plays?’ However, in the 1990s, she began to reflect on why she developed the theatre, as an artist, and the meanings of theatre for her community and the people around her.I examine this developmental transition through two of her works: The Children of August (1991-1993) and A·R-Sketches of AKUTAGAWA Ryunosuke (1993). The Children of August is a report of her theatre workshop with junior high school students in 1991 by KISARAGI herself. A·R-Sketches of AKUTAGAWA Ryunosuke is one of her plays intended to be performed by her company ‘Noise’.A·R-Sketches of AKUTAGAWA Ryunosuke is different from her previous plays. Its themes are the creation of art in our reality and everyday worlds, and the preoccupations of living as an artist within an ordinary society. Writing The Children of August led KISARAGI to make this novel shift. Reflecting on her workshop by writing The Children of August, KISARAGI began to think about theatre's responsibilities towards and possibilities for communities.

著者

毛利 三彌

出版者

日本演劇学会

雑誌

演劇学論集 日本演劇学会紀要

巻号頁・発行日

vol.50, pp.19-38, 2010

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<p>The recent, so-called post-classical narratology is more concerned with narrative in the communication form, in the feedback loop or in everyday life than with literary narrative. However, narratology of theatre has not been paid much attention in any case, although a play mostly contains a story, which can be narrated. A reason, if not <i>the</i> reason, for the relative neglect of theatre narratology might be the insistence of classical narratologists that no narrator of a story would exit in a play, because it should consist only of dialogues.</p><p>This article is a preliminary attempt of theatre narratology, mainly focusing on the changing aspect of the story in the process from a written play to a performance. It also involves the problem of translation and adaptation of a play into a different language or medium.</p>

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.57, pp.39-53, 2013 (Released:2017-01-06)

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Martin CRIMP's Attempts on Her Life (1996) abounds with experimentation that violates the conventional rules of modern dramas. In this paper, I analyse Attempts, focusing on the structure. The play consists of 17 fragmentary scenarios dealing with the concept of character, which is represented by ‘Anne’, who never appears. The purpose in this paper is to shed some light on the peculiarity of this play.All 17 scenarios have the same form, where only the speakers talk about Anne. The content of the scenarios is discontinuous and inconsistent. Moreover, Anne is depicted quite differently by each of the speakers. The consistency of the form emphasises the arbitrariness of the content. This arbitrariness stimulates the imagination of both readers and audiences, and even urges them to imagine another Anne not depicted in the play.This mechanism of stimulation is particularly clear in the first scenario, ‘All Messages Deleted’. In this scenario, the messages on an answering machine are deleted after a pause. Although CRIMP never says how and by whom the messages are deleted, the pause urges readers and audiences to surmise it is Anne who deletes the messages. The mechanism of stimulation in Attempts always encourages readers and audiences to create Anne using their imagination, even though Anne never appears as a physical character in the play.Thus, based on the above, one of the peculiarities of Attempts is this mechanism of stimulation that encourages the creativity and imagination of readers and audiences.

著者

高尾 隆

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.61-77, 2010 (Released:2018-01-12)

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Since the “qualitative revolution”, qualitative approaches have been growing in cultural and social sciences. They have now taken a performative turn, caused in great part by the “politics of discourse” or the “politics of interpretation.” It means drama/theatre education research has changed. The International Drama in Education Research Institute (IDIERI) is attempting to bring the heritage of drama/theatre education into performative qualitative research. It promotes the crossover of research, education and art making.Here, several research methodologies in drama/theatre education are examined individually, such as ethnography, performance ethnography, case studies, historical research, action research, experimental research, reflective practitioner case study, as well as arts-based and arts-informed enquiry, narrative enquiry and mix and meta methods.Finally, methodological issues in drama/theatre education research within Japan are considered. Drama/theatre education is predicted to shift its focus of inquiry through praxis. Theoretical models will be constructed, contributing to arts and advocate praxis itself. Academic communities of drama/theatre education need to be more flexible so as to accept these various styles of presentation, including workshops and performance. The future of drama/theatre education research is explored by making performative connections between research, societies and people through research collaboration, practitioners and artists in academic communities.