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研究発表 説経節『小栗』における中世から近世へ
https://doi.org/10.24619/00002151
https://doi.org/10.24619/000021517715efe8-0203-4147-946f-e4b3b617b382
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
研究発表 説経節『小栗』における中世から近世へ (9.3 MB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-09-02 | |||||
| タイトル | ||||||
| タイトル | 研究発表 説経節『小栗』における中世から近世へ | |||||
| タイトル | ||||||
| タイトル | "THE SEKKYÔ CHANTERS… ALWAYS RECITE THE SAME OLD STORIES AND DON'T CREATE ANYTHING MODERN." DAZAI SHUNDAI, "DOKUGO" | |||||
| 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 | 10.24619/00002151 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
Liscutin, Nicola
× Liscutin, Nicola× LISCUTIN, Nicola |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | At least from the late Muromachi period a narrative chanted with musical accompaniment alone, sekkyôbushi developed around the turn of the 17th. century to a form of puppet theater and became one of those most thriving popular stage arts which flourished in the major urban centers of Edo-period Japan. While there were a few sekkyôbushi groups in the kamigata area around 1650, it was in Edo during the late 17th. and early 18th. century, that sekkyôbushi enjoyed its heyday, surpassing by far Jôruri in popularity. But as fast as sekkyôbushi's rise, as rapid was its decline. By 1750 the last performances were given in Edo, in the Kamigata area the genre had vanished long before. What was it, that made sekkyôbushi outmoded in the eyes of the urban theatergoers? Scholarly consensus holds, that sekkyôbushi is basically a medieval genre, since in its narrative, musical and dramatic structure it kept the specific features of an oral literature, which made inventions, let alone the creation of entirely new plays, difficult. In other words, it was the form of sekkyôbushi, its presentation which made it to become outdated. The above cited passage of Dazai Shundai's "Dokugo"(middle of the 18th. century), however, refers to the all too familiar stories, the subjects of sekkyôbushi rather than to its form. It seems all the more surprising then, that during this period sekkyôbushi'stories were often performed in Jôruri and Kabuki. What precisely had Dazai Shundai in mind, when he criticized the sermon-ballads as old-fashioned? Could it not well have been, that the way how the "world", values and human relationships were depicted in sekkyôbushi was medieval and thus not fitting to the new tastes-or a changing 'mentality'- of the urban theatergoer? And how were the sekkyôbushi stories changed for perf ormances in Jôruri and Kabuki to appear"modem"? In the present paper, I will trace a segment of this process of adaptation by comparing and analyzing versions of "Oguri Hangan" in sekkyôbushiand Jôruri. |
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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 14, p. 21-34, 発行日 1991-03-01 |
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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 | ||||||
