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招待発表（1） 観客の運命 ―三つの関係―
https://doi.org/10.24619/00002055
https://doi.org/10.24619/00002055883bb65e-6eb3-4c2a-8717-d5438ece5eec
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
招待発表（1） 観客の運命 ―三つの関係― (8.8 MB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-08-05 | |||||
| タイトル | ||||||
| タイトル | 招待発表（1） 観客の運命 ―三つの関係― | |||||
| タイトル | ||||||
| タイトル | Audience experience: Three relationships | |||||
| 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 | 10.24619/00002055 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
Hoff, Frank
× Hoff, Frank× HOFF, Frank |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Theories about the reception of works of art, whether as a reading or as a performance experience, have recently attracted wide critical attention. Japanese culture has a unique contribution to make in this area. Discussions of the magical component of the act of seeing (miru), found for example in folkloric-based theories of contemporary scholars such as Ikeda Y asaburo or Tsuchihashi Yutaka, or the classical aesthetic of the relation of the audience's experience to that of the performer as expounded in the middle ages by Zeami are but two important Japanese approaches to performance theory. This paper focusses on the audience experience as established through three separate relationships. The first binds the participant to the time and place (ba) of performance and to the unique concatenation of events which comprise it. The second is the relationship between the identity of the story teller ("actor") as himself and that of the character or characters in his story, as this relationship is perceived by the spectator. This relationship is of special importance to a theatrical tradition such as that of Japan, were the classical stage arts are, in a sense, extensions of various storytelling arts (katari) and the role of the actor an extension of that of the storyteller. The final relationship follows from the previous two and unites the spectator and the act of seeing to the performer and the reciprocal or mirror act of being seen. Through quotations from Japanese scholars, critics, and those actively engaged in the performing arts, my discussion attempts to show how broadly based can be a theory of audience experience which draws upon evidence found in the Japanese performing arts. |
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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 6, p. 125-136, 発行日 1983-03-01 |
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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 | |||||
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| 内容記述タイプ | Other | |||||
| 内容記述 | ||||||
