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OKINAWAN THEATRE AS WORLD THEATRE : A STUDY OF THE REPRESENTATION OF ACTRESSES IN MAINLAND JAPAN AND OKINAWA

作为世界剧院的冲绳剧院：日本本土和冲绳女演员表现研究

基本信息

批准号：
18520280
负责人：
SUZUKI Masae
金额：
$ 2.51万
依托单位：
Kyoto Sangyo University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2006
资助国家：
日本
起止时间：
2006 至 2007
项目状态：
已结题

项目摘要

The aim of this joint-research was to reconsider the characteristics of Okinawan drama as that of the World Theatre through the eyes of both a local Okinawan scholar and a Mainland Japanese scholar based in Kyoto. In our research, we broadened the term "actresses" and included women of the arts, or the entertainers and performers categorized as Geino-sha as professional actresses. This will include Tayu or Geiko in Kyoto as well as the Juri in Okinawa, who are categorized as Yujo. Such broadening of the term was necessary, for though there were almost no "official" actresses allowed to be on stage in Okinawa till the beginning of the twentieth century, female performing art was succeeded in the special entertainment district called Tsuji.The highlight of the project was the symposium held in Okinawa on 24 October, 2007. We have invited Kitajima Sumiko, a representative actress of Okinawa, Higa Izumi, a young actress of the all-female Okinawan troupe, and the Akutagawa-prize winning writer Oshiro Tatsuhiro, as well as researchers from all over Japan to discuss on the female representations in Okinawa and Mainland Japan within a global context.We also interviewed female performers, directors, and researchers in and outside Japan to compare their cases with those of Okinawa. The experience of chanting Noh in Miyakojima Island among the male performers also was a good chance to investigate the link between the almost all-male Noh and Kabuki actors and the female entertainers in mainland Japan and reconsider the meaning of "actresses" in Okinawa. We came to the conclusion that the Tsuji performers" (Juri) were the first "actresses" in Okinawa and the rightful successors of the traditions of sacred rites and entertainment which are in the danger of extinction in the region.

本研究的目的，是透过一位冲绳学者与一位驻京都的日本大陆学者的视角，重新思考冲绳戏剧作为世界剧场的特性。在我们的研究中，我们扩大了“女演员”一词的范围，将艺术界的女性，或被归类为Geino-sha的艺人和表演者也包括在内。这将包括京都的塔尤或艺子以及冲绳的尤里，他们被归类为Yujo。这种扩大是必要的，因为直到20世纪初，在冲绳几乎没有“正式”的女演员可以登台演出，但在被称为“筑地”的特殊娱乐区，女性表演艺术获得了成功。2007年10月24日在冲绳举行的研讨会是该项目的亮点。我们邀请了冲绳代表女演员北岛纯子、冲绳岛女子剧团的年轻女演员比贺泉、芥川奖获奖作家大四郎辰弘，以及来自日本各地的研究者，从全球的角度探讨冲绳和日本大陆的女性代表性。我们还采访了女性演员、导演、日本国内外的研究人员将他们的病例与冲绳的病例进行比较。在宫古岛，男演员们唱能乐的经历也是一个很好的机会，可以调查几乎全是男性的能乐和歌舞伎演员与日本大陆女艺人之间的联系，并重新思考“女演员”在冲绳的意义。我们得出的结论是，“筑地演员”（朱丽）是冲绳的第一批“女演员”，是该地区濒临灭绝的神圣仪式和娱乐传统的合法继承者。