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A Study of the Overseas Tour of Tokujiro Tsutsui and Theatre Reformation in Japan and Europe

筒井德次郎海外巡演与日本及欧洲戏剧改革研究

基本信息

批准号：
15604015
负责人：
TANAKA Tokuichi
金额：
$ 1.15万
依托单位：
Nihon University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2003
资助国家：
日本
起止时间：
2003 至 2004
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/en/grant/KAKENHI-PROJECT-15604015/
关键词：
Tokujiro Tsutsui overseas tour popular theater avant-garde theater theater reformation Takarazuka national drama kabuki revue 新国民劇

项目摘要

I compared and studied the attitudes of theatre practitioners in Japan and Europe, particularly those who acclaimed the overseas theatrical performance (1930-31) of Tokujiro Tsutsui (1881-1953), an actor of shimpa (new school) and kengeki (sword-fighting play), from the view point of theatre reformation based on my research. The following are my results.During his overseas tour, Tsutsui gave sword-fighting and kabuki performances, arranged to make them easier for Europeans to understand, in the form of revues with unique physical expression and various stage representations. Pioneering theatre practitioners in Europe at that time - Copeau, Dullin, Piscator, Brecht and Meyerhold - found clues for theatre reformation in Tsutsui's popular theatre entertainment, which they regarded as an example of the origin-oriented universal theatrical art.At that time, Shiko Tsubouchi and others of the Takarazuka Company were trying to create a new type of national drama (kabuki revue) to replace Edo k … More abuki by combining various stage representations. They saw many good ideas in Tsutsui's performances, which had been successful in overseas, for the creation of the new style of national drama. Some connections between Tsutsui and the Takarazuka Company were seen in the memorial performance of Tsutsui after his return to Japan and trial national dramas by Tsubouchi and others.Tsutsui's overseas tour bridged the west, with its internationally recognized avant-garde theatre practitioners, and the east, with a commercial theatrical company striving to create new popular theater entertainment but not followers of the avant-garde theater practitioners. This reveals the twisted exchanges of theater. Theatre practitioners in Europe and Japan, so far apart, were searching for a common popular culture, something similar to shows.Problems posed by Tsutsui more than seventy years ago through his overseas tour that have remained unsolved may be the key in revising the modern theatre history of Japan. Less

我在研究的基础上，从戏剧改革的角度，比较和研究了日本和欧洲戏剧从业者的态度，特别是那些称赞新派和剑术演员筑井德二郎(1881-1953)海外戏剧表演的人。以下是我的成果。在海外巡演期间，筑井以独特的肢体表达和不同的舞台表现形式，进行了格斗和歌舞伎表演，以便于欧洲人理解。当时欧洲的先驱戏剧从业者--科普、杜林、皮斯卡托、布莱希特和迈尔霍尔德--在筑井广受欢迎的戏剧娱乐中找到了戏剧改革的线索，他们认为这是以起源为导向的普遍戏剧艺术的典范。当时，竹内志和宝冢剧团的其他人试图创造一种新型的民族戏剧(歌舞伎剧)来取代江户…通过组合不同的舞台表现形式来更多地表现阿布基。他们从徐井在海外获得成功的演出中看到了许多创造民族戏剧新风格的好主意。筑井与宝冢剧团之间的一些联系，可以从他回国后的纪念演出以及Tsubouchi等人的民族戏剧试演中看到。筑井的海外巡演连接了西方和东方的桥梁，前者是国际公认的前卫戏剧从业者，后者是一家商业戏剧公司，致力于创造新的受欢迎的戏剧娱乐，而不是前卫戏剧从业者的追随者。这揭示了戏剧的扭曲交换。相距甚远的欧洲和日本的戏剧从业者一直在寻找一种共同的流行文化，一种类似于戏剧的东西。70多年前，筑井在海外巡回演出中提出的一些悬而未决的问题，可能是修正日本现代戏剧史的关键。较少