間の研究 : 新視点導入の試み

概要

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　We Japanese often use the word '間 ma', regarding it as one of the most intimate, important conception for describing the essence of Japanese culture.　Hitherto, the study of '間 ma' has been focussed on clarifying what the phenomena '間 ma' describes and what the function-structure of '間 ma' is. But the problem of how '間 ma' corresponds with the audience's experience has not been investigated enough. ln this paper, I critically analyze some representative essays on '間 ma' to reach a more accurate understanding of '間 ma' and go on to consider the problem of '間 ma' as experience'. Ma as cxperience has two characteristics. First, '間 ma' becomes a kind of symbol of the Narcissus experience in Japan, evoking semi-institutionalized '間 ma' modes ('神招きの間' ma to invite 魂 ta-ma, '主客の間' ma between a guest and a host, and '虚実の間' ma between a fiction and a reality, each of which designates the proper trinity of posture, movement and breath.). On the other hand, '間 ma' as a creation is an action with which we encourage ourselves to face the void made by abridgement, discontinuance, deviation and so forth, and through which we can experience the dynamic, aesthetic essence of silence. Needless to say, these two characteristics can not be separated in performance.
1994-00-00