著者

田中 里奈

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.71, pp.1-26, 2020-12-15 (Released:2020-12-26)

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In 2006, the musical Marie Antoinette was launched from Tokyo. Before the return to Japan in 2018, this work about the French Revolution was performed in Germany, South Korea, and Hungary.Marie Antoinette was originally intended for the export but did not fully follow the trend of megamusical that globally succeeded with the franchise system since the 1980s. Rather, this musical continued to be dedicated to the specific context of popular theater in each performing venue, as seen in the growing trade of musicals between Continental Europe and East Asia in the last few decades. For meeting actual demands and limitations, all the elements including the text and music were constantly overwritten with the approval of the copyright holders.In the chained variations on the principle of flexible adaptation, the authority of the original product, which is connected to the license business of musicals with enormous initial costs, is diminishing. Instead, companies and institutions that have more or less their own financial resources, e.g. from the public sector or the holding company, played a significant role in the survival of the genre within the various and acceleratedly changing sociocultural environments on the performance.