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並木正三の作品における人物造形
https://doi.org/10.24619/00003710
https://doi.org/10.24619/00003710702b99ab-e22b-425d-ba2a-be1145a27d13
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
並木正三の作品における人物造形 (2.5 MB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2018-11-26 | |||||
| タイトル | ||||||
| タイトル | 並木正三の作品における人物造形 | |||||
| タイトル | ||||||
| タイトル | A Study on the Characterization of Shōza Namiki's Kabuki Plays | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 並木正三 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 上方歌舞伎 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 三千世界商往来 | |||||
| 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 | 10.24619/00003710 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
陳, 夢陽
× 陳, 夢陽× CHEN, Mengyang |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | About Shōza Namiki, a Kabuki play writer who led the theatre in Kyoto-Osaka area with his experiences of both Kabuki and Bunraku in Horeki-Tenmei period, conventional studies usually focused on his efforts to improve stage sets, especially mawari-butai (revolving-stage). However, when we read the existing Kabuki play scripts carefully, we can find out that Shōza created dramatis personae with clear-cut individuality and deep impression, and meanwhile repeatedly used the same plots as his contemporaries did. Therefore, in this presentation, I would like to focus on how Shōza created brand-new images that previous Kabuki plays with similar plots didn’t have by studying his Kabuki play scripts as well as reviews of Kabuki actors who had cooperated with Shōza. In this presentation, I analyze jitsuaku (villain) of Shōza’s Kabuki plays by analyzing characters of Shinkurō Nakayama, Daigorō Mimasu, Utaemon Nakamura (the First) and Hachizō Fujikawa in three of Shōza’s most important Kabuki plays which are Keisei Amano Hagoromo, Kuwanoya Tokuzō Irifune Monogatari and Sanzen Sekai Yarikuri Ōrai. Although these actors all played similar villain roles, their acting were fully used, and brought up characters that you can’t just simply sum up as stereotypes. Then, I focus on onnagata (female-role actor) by analyzing characters of Namie Sanjō, Kiyosaburō Nakamura, Kumetarō Nakamura and Koisa Nakamura in Keisei Amano Hagoromo, Sanjukoku Yofuneno Hajimari and Sanzen Sekai Yarikuri Ōrai. Through creating female roles that have their own individual self-determination, and sometimes even can compete against male roles, not only Shōza but actors were favorably reviewed. Different from Bunraku that values originality of stories, Kabuki can create new real pleasures by changing combinations of Kabuki actors even with the same plot. Based on the above, I would analyze the original characterization of Shōza’s Kabuki play, as well as audiences’ reviews and if it was performed successfully or not. |
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| 書誌情報 |
第４１回 国際日本文学研究集会会議録 en : PROCEEDINGS OF THE 41st INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 41, p. 80-70, 発行日 2018-03-28 |
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| 出版者 | ||||||
| 出版者 | 人間文化研究機構 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 | ||||||
