吾妻能狂言の番組
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概要
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The No, which had been protected by Tokugawa Shogunate as a music for ceremonies became depressed when confronted with the Meiji-Restoration. It was guessed that the tradition of the art was at a crisis of its extinction. About the 9th year of Meiji, however, when a No play was held before the Emperor at Tomomi Iwakura's, the No took a chance of revival, and gradually its position as a classical drama was secured. At this transitional period, No players tried various kinds of new performances. Above all, Azuma-Nokyogen, in which shamisen was used as an instrument of accompaniment, is said to be fairly popular for a while. Now a hundred years have passed since then. I think it necessary for us to criticize it from both sides of merits and faults, giving it a proper position in the history. The investigation, however, has not progressed; terms and programs of performances and the members of the players are not yet known distinctly. Here I introduce the programs I came to find recently, only because I intensely hope that this art will get much more interest, and as a result, the history of modern No will be completed. At first I give an outline of the results of the researches in the past about Azuma-Nokyogen, and then publish more than ten programs belonging to No Research Institute of Hosei University, and several others. An index of all the names of tunes and players is offered. Fortunately I am able to put pictures of data. I would like to ask for impartial criticisms of readers.
- 東京女子大学の論文
- 1966-09-01