Kabuki Structure and Social Structure

歌舞伎结构和社会结构

• 批准号: 63510095
• 负责人: ONO Mitchikuni
• 金额: $ 0.77万
• 依托单位: Kobe University
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for General Scientific Research (C)
• 财政年份: 1988
• 资助国家: 日本
• 起止时间: 1988 至 1989
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-63510095/
• 关键词: Kabuki; Kata; Pattern; Symbol System; Structure; Social Structure; Value Pattern; Edo era(Tokugawa Period); 「型」; シンボル; 記号; 「家」; 幕藩体制

This Project attempts to elucidate a correspondence between "structure" of Kabuki drama as symbol system and "social structure". Our research results are as follows. 1. We can say that the structure of Kabuki consists of "Paradigmatic" relationships among various "Kata"(Pattern or style of acting) such as Kata of "Sekai"(worlds), "Yakugara"(role-types), acting, settings, properties, costumes, and wigs. This structure may be called "repertoire of Kata or patterns". And, a particular play may be regarded as one or another combination of Kata selected from this repertoire. Therefore any one of plays stands, as it were, at the "syntagmatic" level. "Kata", constituting the structure, are defined as visual-auditory and typical-rhythmical expressions of natural phenomena, psychological states, and human behaviors. In other words, a Kata is an autonomous form which is itself an articulation and an exaggeration of everyday reality.2. The social structure consists in "institutionalized value pat … More terns". In particular, it seems that the Tokugawa social structure was governed by such patterns as interpenetrated into "Mibun" (estate) and "Ie" institutions. Those patterns might be called "type distinction", "hierarchization" (which are Mibun value patterns), and "genealogical continuity", "system priority"(Ie patterns).3. Between both kinds of structures, there are three types of correspondence. (1)"Mibun" and "Ie" patterns caused typified and hierarchized Kabuki productions on one hand and "Ie no gei"(family art) on the other hand(causal correspondence). (2) A Kata became, positively, a certain support for the central values in the Tokugawa Period because of its ideological simplism, and negatively, a certain threat to these values because of its aesthetic-emotional values(functional correspondence). (3) It will be suggested that two orders of structures or patterns would be no more than two realizations, on the Kabuki symbolism level and the social system level, of one world view (structural correspondence). Less

本研究试图阐明歌舞伎戏剧作为符号系统的“结构”与“社会结构”之间的对应关系。我们的研究结果如下。1.我们可以说歌舞伎的结构是由各种“Kata”（表演模式或风格）之间的“范式”关系组成的，如“Sekai”（世界）的Kata，“Yakugara”（角色类型），表演，设置，属性，服装和假发。这种结构可以被称为“形或模式的剧目”。而且，一个特定的发挥可以被视为一个或另一个组合的形选择从这个剧目。因此，任何一部戏剧都可以说是站在“组合”的层次上。“形”是自然现象、心理状态和人类行为的视觉-听觉和典型-节奏的表达，构成了结构。换句话说，形是一种自主的形式，它本身就是日常现实的表达和夸张。社会结构是“制度化的价值模式 ...更多信息 “嗯”。特别是，似乎德川社会结构是由这样的模式相互渗透到“Mibun”（地产）和“Ie”的机构。这些模式可以被称为“类型区分”，“等级化”（这是Mibun值模式），和“谱系连续性”，“系统优先级”（即模式）。在这两种结构之间，有三种类型的对应关系。(1)“Mibun”和“Ie”模式一方面导致了歌舞伎作品的典型化和等级化，另一方面导致了“Ie no gei”（家庭艺术）（因果对应）。(2)在德川时代，形由于其意识形态的简单化而成为对核心价值观的积极支持，而由于其美学情感价值（功能对应）而成为对这些价值观的某种威胁。(3)我们认为，两种结构或模式的秩序，在歌舞伎象征主义层面和社会制度层面上，只不过是同一个世界观的两种实现（结构对应）。少