@inproceedings{oai:kokubunken.repo.nii.ac.jp:00001904,
 author = {Browne, S,Jyana and BROWNE, S,Jyana},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {37},
 month = {Mar},
 note = {pdf, 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.},
 pages = {99--105},
 publisher = {国文学研究資料館},
 title = {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},
 year = {2014},
 yomi = {ブラウン, ジャナ}
}