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Research of Kabuki performance in local areas -Tono, Nanshin, and Mikawa areas

远野、南新、三河地区的歌舞伎演出研究

基本信息

批准号：
13610521
负责人：
YASUDA Noriko
金额：
$ 1.86万
依托单位：
Gifu Shotoku Gakuen University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2001
资助国家：
日本
起止时间：
2001 至 2003
项目状态：
已结题

来源：
https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-13610521/
关键词：
loal plays kyogen-scripts Joruri-scripts choreographer festival arts tyu, ko-sibai (middle and small plays)Kabuki village theater 義太夫

项目摘要

Okimi of Izumo had her first Kabuki dance in Kyoto 400 years ago. Since then, it has spread in Japan, but it changed into an art from performed by male only performers under the strict control of the Shogun government Oo-sibai (grand plays) were performed in the three urban cities (Edo, Kyoto, Osaka). Except for oo-sibai, performances were conducted in several places with miyati-sibai (the permit of the length of a hundred days). Big castle towns like Nagoya and Kanazawa, and cathedral towns like Ise and Miyajima also enjoyed these one hundred day performances. Even then it was diffcult for people in agricultural and fishing areas to eqjoy Kabuki. They may have been attracted to Kabuki when they saw a rare one or two day performance by a traveling troupe. However, it was a principle that Kabuki had been prohibited in rural and fshing areas, so they enjoyed Kabuki as an entertainment at the festival of the genius loci, or on village holidays. This is the beginning of a village play. The … More people bought up the whole troupe or they perfbrmed by copying professionals. The former is called kai-(buying) or uke-(asking)shibai(play) and the latter is called ji-(local) shibai or ji-kyogen. It might have started in the period of Genroku (1688-1704) and in the middle of the Edo period it spread all over Japan. Some villages had theaters for this purpose, and a special day was set up for performances. Then each had a unique development However, a village performance was a one-time and small-scale in cident with the audiences of small number of villagers, so unlike oo-shibai it does not have enough research material& Each place may have had a unique work or production, but it may not have kept the original form of a play because of vulnerability of plays. Depopulation 'and modernization will accelerate disappearance of materials. it is important to depend on literary documents, so this research tries to see the actual conditions of village play from scripts. Local plays are popular in the Tono, Nanshin and Mikawa areas, and whether scripts of local plays exist or not was checked and studied. The information is now on a database. From this it is clear that local plays in these areas were choreographed by a traveling actor and they were under their guidance. This means that these were strongly influenced by the kamigata (Kyoto and Osaka) tyu, ko-sibai(middle and small plays). Less

出云的Okimi在400年前的京都有了她的第一个歌舞伎舞蹈。从那时起，它已经在日本传播，但它变成了一种艺术，由男性表演者在幕府政府的严格控制下，Oo-sibai（大剧）在三个城市（江户，京都，大坂）演出。除了oo-sibai，在几个地方进行了表演miyati-sibai（一百天的长度许可证）。像名古屋和金泽这样的大城堡城镇，以及像伊势和宫岛这样的大教堂城镇也喜欢这些为期一百天的表演。即使在那时，农业和渔业地区的人们也很难欣赏歌舞伎。他们可能是在看到一个旅行剧团难得的一两天演出时被歌舞伎吸引的。然而，这是一个原则，歌舞伎已被禁止在农村和fshing地区，所以他们享受歌舞伎作为一种娱乐，在节日的天才地点，或在乡村假日。这是一出乡村剧的开头。的 ...更多信息有人买下了整个剧团，或者他们是由专业人员模仿演出的。前者被称为kai-（购买）或uke-（询问）shibai（玩），后者被称为ji-（本地）shibai或ji-kyogen。它可能始于元禄时代（1688-1704），在江户时代中期传遍了日本。一些村庄有专门的剧院，并为表演设立了一个特殊的日子。但由于乡村演出是一次性的、小规模的演出，观众群也不多，不像“吴士白”那样有足够的研究资料，每个地方可能都有独特的作品或制作，但由于戏剧的脆弱性，可能没有保持戏剧的原始形式。人口减少和现代化将加速物质的消失。因此，本研究试图从剧本的角度来透视乡村戏剧的真实状况。地方戏剧在堂野、南新和三川地区很受欢迎，对地方戏剧的剧本是否存在进行了检查和研究。这些信息现在都在数据库中。由此可见，这些地区的地方戏剧是由一位旅行演员编排的，并在他们的指导下进行的。这意味着这些都受到了上形（京都和大坂）tyu，ko-sibai（中小戏剧）的强烈影响。少