文献一覧: 日本演劇学会 (出版者)

1 0 0 0 坪内士行とエドワード・ゴードン・クレイグ:—未公開書簡に見る東西演劇の文化接触—

著者: 山口庸子
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.81-91, 2016

2017-10-05 09:00:13
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1 0 0 0 OA 瀬戸宏『中国のシェイクスピア』

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.64, pp.49-57, 2017-05-30 (Released:2017-06-30)

2017-08-25 05:37:16
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1 0 0 0 OA 永田雄三・江川ひかり『世紀末イスタンブルの演劇空間──都市社会史の視点から』

著者: 村井華代
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.64, pp.58-66, 2017-05-30 (Released:2017-06-30)

2017-07-07 12:33:39
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1 0 0 0 舟屋台の回り舞台について--京都府与謝郡伊根町大漁祭り

著者: 名生昭雄
出版者: 日本演劇学会
雑誌: 日本演劇学会紀要 (ISSN:0387320X)
巻号頁・発行日: no.12, pp.48-55, 1971-03

2016-07-14 17:14:43
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https://ci.nii.ac.jp/naid/40002826202

1 0 0 0 小山内薫『第一の世界』論:—宗教信仰と心霊主義をめぐって—

著者: 熊谷知子
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.51-66, 2016

In my previous research note "OSANAI Kaorus religious faith and that time" (2015), I argued that OSANAI had followed several religions in his life. Around 1900, he briefly became a Christian. Thereafter, he was closely involved with new religions: Shiseiden around 1916 and Omoto-kyo around 1920. Whereas he held these faiths temporarily, OSANAI was interested in spiritualism throughout his life. It is necessary to consider this tendency in his theatrical work. This paper discusses OSANAI Kaorus play Daiichi no Sekai (The First World), focusing on his religious faith and spiritualism. This play was written for a Kabuki actor, ICHIKAWA Sadanji II, performed by the Sadanji troupe in 1921. Until now, Daiichi no Sekai has been explored only in terms of its mysticism or symbolism, however this paper focuses on its connection to an autobiographical novel by a devout Christian: Shisen wo Koete (Before the Dawn) by KAGAWA Toyohiko. It is important to note that OSANAI had directed Shisen wo Koete, dramatized by the Shimpa (the new school), in the month prior to the opening performance of Daiichi no Sekai. Specifically, this paper focuses on the reflection of OSANAIs feelings in the characters of Yamanaka, the man of the house, and Shimamura, the orphan houseboy.

2016-07-03 21:24:50
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1 0 0 0 歌舞伎を救ったのは誰か?--アメリカ占領軍による歌舞伎検閲の実態

著者: Brandon James 鈴木雅恵
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.42, pp.145-197, 2004
被引用文献数: 1

2015-09-08 18:00:00
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https://ci.nii.ac.jp/naid/40006521784

1 0 0 0 生の祝祭としての音楽劇:―中期ストア派演技論における音楽的身体の復権―

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

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' On Music (2007).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.