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研究発表 『歌舞髄脳記』の諸本をめぐって ――金時禅竹の芸術理論の成立過程を中心に――
https://doi.org/10.24619/00001896
https://doi.org/10.24619/0000189663b69fed-6eed-4a57-8aaf-917809fc5109
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
研究発表 『歌舞髄脳記』の諸本をめぐって ―金時禅竹の芸術理論の成立過程を中心に (773.9 kB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
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| 公開日 | 2016-06-08 | |||||
| タイトル | ||||||
| タイトル | 研究発表 『歌舞髄脳記』の諸本をめぐって ――金時禅竹の芸術理論の成立過程を中心に―― | |||||
| タイトル | ||||||
| タイトル | The Manuscripts of "Kabuzuinôki": An Analysis of Konparu Zenchiku's Theatrical Theories | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_5794 | |||||
| 資源タイプ | conference paper | |||||
| ID登録 | ||||||
| ID登録 | 10.24619/00001896 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
Bugne, Magali
× Bugne, Magali× BUGNE, Magali |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | The works of Konparu Zenchiku, lead performer of the Konparu troupe during the Muromachi Period (1337-1573 A.D.), present a novel approach to theatre. By applying the previously alleged poetic treatises of Fujiwara no Teika to the theatrical theories of his father–in-law Zeami, he tied together two artistic fields that had never been joined previously. “Kabuzuinoki (Record of the Essence of Song and Dance)” is a prime example of poetry and theatre being used in tandem by Zenchiku. This presentation seeks to examine Zenchiku’s theories and methods and shine a light on his innovative way of seeing Japanese drama. In “Kabuzuinoki”, Zenchiku uses quotes from “Sangoki”, an apocryphal poetic treatise from the Usagi Documents that was falsely attributed to Fujiwara no Teika, and “Shuiguso”, a work actually written by Fujiwara no Teika, to reinterpret and expand the aesthetic theories regarding Noh play classification presented by Zeami’s works “Kyui”, “Fushikaden”, and “Shikado”. Each Noh play discussed in “Kabuzuinoki” is associated with one of ten types of poetic styles and also with one of nine levels of Noh performance as described in Zeami’s “Kyui”. “Kabuzuinoki” provides detailed information regarding Muromachi Period plays and also on some of its most celebrated performers, such as Konparu Gonnokami, Kanami, Inuo, Zeami, and Motomasa. It is therefore an invaluable document that sheds much needed light on Muromachi-era aesthetics, as well as insight on the opinions and artistic standards of Zenchiku himself. Three extant copies of “Kabuzuinoki” have been preserved. The most perfectly preserved copy is one made by Yazaemon Yasuyoshi, founder of the Yazaemon family, called “Seisenbon”, and is dated the second year of Kosho (1456 A.D.). The second manuscript, “Shokokanbon”, copied by Imagawa Yoshimoto, contains virtually no differences from that of “Seisenbon” aside from a few different kanji variations. The third manuscript called “Sokobon” was discovered on the reverse side of Zenchiku’s original manuscript for “Rokurin Ichiro no Ki (Six Circles, One Dewdrop)”, therefore making it the earliest copy in existence and also written in Zenchiku’s own hand. Between the three manuscripts, however, the plays discussed, Zeami’s nine levels of performance, and the ten types of poetic styles assigned vary by very little. In the earliest manuscript (“Sokobon”), the Noh plays discussed also include ones supposedly written by Zenchiku himself, however in later copies these plays are omitted completely. Other changes reflected in the two latter versions can be attributed to the refinement of Zenchiku’s aesthetic principles. This presentat ion, therefore, seeks to use the three extant versions of “Kabuzuinoki” to detail the evolution of Zenchiku’s theories and thoughts regarding Noh dramas and how they can be reinterpreted and reexamined through the use of poetry. |
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| 書誌情報 |
国際日本文学研究集会会議録 en : PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 37, p. 29-45, 発行日 2014-03-31 |
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| 出版者 | ||||||
| 出版者 | 国文学研究資料館 | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 0387-7280 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | ||||||
