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 Geilhorn,
Barbara / Grossmann, Eike / Miura, Hiroko / Eckersall, Peter (eds)
Enacting Culture
Japanese Theater in Historical and Modern
Contexts
2012 · ISBN
978-3-86205-039-0 · 313 Seiten, geb. · EUR 56,—
Monographien, herausgegeben vom Deutschen Institut für Japanstudien (Bd.
51)
The Japanese theater scene is characterized by the vibrant
coexistence of diverse forms of theater. Alongside well-known classical
theater traditions, a stunningly modern scene exists, with an immeasurable
number of small theaters. By focusing on the historical and contemporary
contexts of how theater culture is enacted, this collection brings together
essays on the spectrum of theater in Japan. Through literary and performance
analyses and original case studies the collection explores complementary and
interdisciplinary aspects of Japan’s performing arts. In an important and
unique contribution, this volume includes essays by Japanese and Western
scholars written in a mix of English and Japanese. Abstracts of each
contribution translated into the opposite language allow readers without
knowledge of both languages access to the main ideas of the essays.
CONTENTS
B. Geilhorn and E. Grossmann: Preface (序) · B. Geilhorn and E. Grossmann:
Introduction (はじめに)
1. Theoretical Writings and Collections of Plays
演劇論と謡本・台本
Yamanaka R.: 世阿弥時代の能の演技 (Performing Nō in Zeami’s Time) · A. Regelsberger:
Poetics of Voice and Puppet: Secondary Texts on the Art of Ningyō Jōruri
(声と人形の美学—人形浄瑠璃における芸道論) · B. Ruperti: 「世阿弥の能楽論とルネッサンスの演劇論 —
演劇の本質、戯曲と舞台化、俳優というテーマを中心に」 (Dramatization, Staging, Actor – A Comparison of
Zeami’s Theories on Nō and Renaissance Theater Theories) · Ōtani J.:
『黒川能の狂言台本集』解題 (Annotations to the Collection of Kyōgen Plays of Kurokawa Nō)
2. Performing Cultural Concepts: Legends and Objects
文化的概念の演出：伝説と物体
Miura H.: 能の「音楽」論序説 (On the Meaning of the Expression Ongaku (Music) in Nō
Theater) · P. Schmitt: Mirror of Attachment – On Magic Mirrors and
Reflections in Nō Plays by Zeami Motokiyo (執心の鏡—世阿弥能における「鏡」と「反映」の役割について) ·
Oda S: 変貌する小町 (Transfigurations of Komachi) · R. Borgen: Performance in a
Pilgrimage – The Monk Jōjin’s Travels in China, 1072–1073
(巡礼のパフォーマンス—僧成尋の宋への旅、1072–1073)
3. Contemporary Performance Practices: Audiences and
Adaptations 現代の演出・演技方法：観客と改作
Takemoto M.: 能・パトロン・観客 (Nō Theater, Patrons, and Audience) · Nishino H.:
現代に蘇る古典ー復曲能《常陸帯》の能本作成を例としてー (Reviving Classical Plays – The Fukkyoku
Nō Hitachiobi) · Kagaya S.: Nō in Busan: 1905–2005 (釜山での能：1905–2005)
· Marumoto T.: A Song for Kingdoms: Takarazuka’s Attempt to Adapt the Opera
Aida (《王家に捧ぐ歌》―宝塚歌劇によるオペラ《アイーダ》改作の試み)
4. Reception and Redefinition of Theater: Turning Points
in the Twentieth Century 演劇の評価と再定義：二十世紀の転換点
Kobayashi S.: 狂言師・野間善左衛門小伝 (Transmissions by the Kyōgen Actor Noma Zenzaemon)
· J. R. Brandon: Three Wartime Kabuki Plays (戦時中の歌舞伎三作品) · Hata H.:
小林秀雄「当麻」についての断想 (Kobayashi Hideo’s Thoughts on the Nō Play Taema)
5. Cross-media: Contemporary Dance, Film and Literature in
the 1960s クロスメディア：六十年代の現代舞踊、映画、文学
P. Eckersall: Catastrophe in Association – Butō cine Dance as Cross-media
Performance Art (カタストロフィーとの関連性 — クロスメディア・パフォーマンスアートとしての舞踏シネダンス) · K.
Centonze: Encounters between Media and Body Technologies. Mishima Yukio,
Hijikata Tatsumi, and Hosoe Eikō (メディアと身体テクノロジーの間の出会い—三島由紀夫、土方巽、細江英公) · T.
Hackner: The Death of the Author Considered as one of the Fine Arts: The
Aesthetics of Suicide in Mishima Yukio’s Yūkoku
(芸術としての「作者の死」—三島由紀夫『憂国』における自殺の美学)
6. Theater and Society in the Twenty-first Century
二十一世紀の演劇と社会
B. Geilhorn: Performing Social Criticism in Contemporary Japanese Theater –
Okada Toshiki’s Hot Pepper, Air Conditioner, and the Farewell Speech
and Five Days in March (日本現代演劇における社会批判—
岡田利規の《ホットペッパー、クーラー、そしてお別れの挨拶》と《三月の5日間》) · E. Grossmann: Deformation and
Destruction. Matsuo Suzuki’s End of the World (変身と破壊。松尾スズキの世界の破滅) · A.
Bergmann: Art Tower Mito – A Culture Facility Concept off the Beaten Track
in Japan ( 水戸芸術館 — 従来の公立文化施設からの脱却 ) · Abstracts 要旨 · Contributors 執筆者紹介
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