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  1. 国際日本文学研究集会
  2. 国際日本文学研究集会会議録
  3. 第37回

研究発表 18世紀初頭の人形浄瑠璃における新たな演技の共同体

https://doi.org/10.24619/00001900
https://doi.org/10.24619/00001900
1584e80c-7e37-4161-a02b-7cb596764e53
名前 / ファイル ライセンス アクション
I3706.pdf 研究発表 18世紀初頭の人形浄瑠璃における新たな演技の共同体 (637.5 kB)
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Item type 会議発表論文 / Conference Paper(1)
公開日 2016-06-08
タイトル
タイトル 研究発表 18世紀初頭の人形浄瑠璃における新たな演技の共同体
タイトル
タイトル The Emergence of a New Performance Community in Early 18th Century Puppet Theatre
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 10.24619/00001900
ID登録タイプ JaLC
著者 Browne, S,Jyana

× Browne, S,Jyana

WEKO 18557

Browne, S,Jyana

ja-Kana ブラウン, ジャナ

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BROWNE, S,Jyana

× BROWNE, S,Jyana

WEKO 18558

en BROWNE, S,Jyana

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抄録
内容記述タイプ Abstract
内容記述 In Chikamatsu Monzaemon’s Love Suicide at the Sunken Well (1707), the two lovers race through Osaka’s Doˉtonbori theatre district on their way to death. As they run past the kabuki and puppet theatres, they imagine how each theatre will later perform their love suicide. The lyrics of the michiyuki travel scene express the lovers’ grief. They also conjure the powerful emotions circulating between actors, puppeteers, and audience members during the imagined performances. This mingling of emotion between performers and audience is one characteristic of the love suicide genre. The scene describes the depth of sorrow experienced by the performers and audience members as well as the physical manifestation of these feelings, notably, in tears. The performers elicit a direct affective response from the audience, and this audience response, in turn, heightens the performance, creating a circulation of affect within the theatrical space. In early modern Osaka, amateur puppet theatre performance flourished, extending this affective flow beyond the theatre walls to a range of spaces across the city including public spaces, such as shrines, and private homes.
In this paper, I analyze the professional and amateur performance scenes in Love Suicide at the Sunken Well and The Love Suicide of the Two Illustrated Books (1706) to uncover the mutual affective exchange between performer and audience. While the heyday of manuals for amateur performers came after Chikamatsu’s death, it was during his lifetime that publishers laid the initial groundwork for this new genre. I examine how these early instruction books guided theatrical and emotional modes of expression. Geographer Nigel Thrift writes that city spaces constantly reverberate affect, shaping the identities of the inhabitants. Inspired by Thrift’s theory, I suggest that the mutual affective exchange in professional and amateur performance in early 18th century Osaka gave rise to a new commoner community.
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. 99-105, 発行日 2014-03-31
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
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内容記述タイプ Other
内容記述 pdf
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