Greek Tragedy : A Study in the Contemporary Performances

在本研究中，我（1）考察了希腊悲剧在西方国家和日本的当代表演历史，然后（2）仔细研究了两个特别重要的表演，一个在日本，一个在美国。第一个是东京大学希腊悲剧研究俱乐部（以下简称TUGTSC），该俱乐部从1957年到1972年演出了几部悲剧。第二个是69年理查德·谢克纳的《酒神》。（Di69）笔者借助文献资料和视听资料，试图阐释这些演出的当代意义。至于东台，笔者指出，他们的演出虽然以文献学为基础，声称“复古”，但并不属于复古主义，而是为了现代观众而进行的复古。然而，他们所采用的前幕与管弦乐队的分离并没有在他们的演出中起到很好的作用，本研究还表明，迪69是由后戏剧意识所主导的。他们想在Di69中实现某种仪式。希腊悲剧，第一个从仪式中成长出来的戏剧，适合他们的目的。然而，Di69并没有像铃木等人那样通过某种表演风格化来实现这一点，而是通过质疑演员、角色和观众之间的静态关系来实现这一点。http://www.page.sannet.ne.jp/kitanom/index.html

In this research, I have (1) examined the history contemporary performances of the Greek Tragedy, both in Western countries and in Japan, and then (2) scrutinized two especially important performances, one in Japan and one in USA. The first is that of Tokyo University Greek Tragedy Study Club (hereafter TUGTSC),which has performed several tragedies from 1957 to 1972. The second is Richard Schechner's Dionysus in 69. (Di69) I have, with the help of printed and audiovisual materials, tried to explicate the contemporary significance of these performances.As for TUGTSC, I have shown that their performances, although based on the philological studies and claiming "the reconstruction of the ancient style," did not fall into antiquarian archaism but aimed at the reconstruction for the modern audience. However the separation of proscenion from the orchestra which they have adopted did not function well in their performances.This research also shows that Di69 was dominated by the postdramatic consciousness. They wanted to realize ritual of a kind in Di69. Greek tragedy, the first theatre grown out of the ritual was suitable for their purpose. However Di69 did not achieve it through some kind of stylization of the acting as seen in Suzuki and others but through questioning the static relationship between actor, character and the audience is problematized.The full-text version of this research is downloadable from http://www.page.sannet.ne.jp/kitanom/index.html