記憶の観点からの演劇研究(4)事例研究(2)-1 : ク・ナウカの『王女メデイア』(一九九九年)-(前半)

スポンサーリンク

概要

• 論文の詳細を見る

• In this fourth paper of my ongoing research project, I try to set up the basic design for a detailed analysis/interpretation of a theatre performance held in 1999, Tokyo : the theatre company Ku' Nauka's Princess Medea, a contemporary rendition of the Euripidean tragedy. In chapter 1, I represent my own review on the performance. Now I re-examine this review in the light of the question : Is this performance pertinent as an object of the research project? The result is positive, because the mise en scene is structured with three-layered frameworks, of which the outer framework, seemingly the contemporary Japan, tends to break into the middle framework that suggests the Japanese Colonization of Korea from the late Meiji era to the end of the Second World War, thus symbolizing the theme of historical remembering. In this middle framework, a dozen of Japanese men, all jurists, entertain themselves performing Medea as a kind of amateur Bunraku puppet theatre at the riverside of Sumida, where all kinds of performing arts had prospered since the feudalistic Edo Japan. But in stead of puppets, living women are forced to move as theatrical characters according to the lines that are spoken aloud by the jurists, and the very woman who should "act" as Medea is seemingly a Korean person. The inner framework presents the tragedy of Medea itself with "slight" difference from the Greek original. In such a pilot analysis like this, however, there remain as many unsolved problems as further investigations are surely needed. In chapter 2, I argue that a methodologically more precise analysis should be the right way to know the true meaning of the performance, although such a methodology has been rather neglected by theatre scholars in Japan. As a preparation for my own undertaking the analysis which should appear in the subsequent paper of my project, I introduce here a guidance into this methodology on the basis of certain studies by mainly German theorists as Erika Fischer=Lichte, Franz Wille, Guido HiB and Christopher Balme. The core of the argumentation is that we should "read" a performance as a theatrical "text" consisting of various signs. Then, an analysis of a performance means an interpretation of this "text", analogical to that of a work of literature. Thus the structuralistic literature theory of Yuri Lotmann as well as the literature hermeneutics influenced by Hans=Georg Gadamer are available for our discussion. Furthermore, an intertextual approach should be useful, too, because our performance reminds us of another performance in the Japanese theatre scene in the early 1970's. Also, some considerations on the treatment of video as specific material of theatre research are included.

• 2006-09-30

著者

• 山下 純照

  千葉商科大学

• 山下 純照

  千葉商科大学商経学部

関連論文

• 記憶の観点からの演劇研究(6)事例研究3 : 金杉忠男「胸騒ぎの放課後」(一九八七/八八年)とカントル「死の教室」(一九七五)にみるノスタルジアの比較考察
• 記憶の観点からの演劇研究(5) : 事例研究(2)-2 : ク・ナウカの『王女メデイア』(一九九九年)ヴィデオ分析
• 記憶の観点からの演劇研究(4)事例研究(2)-1 : ク・ナウカの『王女メデイア』(一九九九年)-(前半)
• 記憶の観点からの演劇研究(3) : 事例研究(1):山崎正和『戯曲 二十世紀』(1998)における集合的記憶としての「写真」と「機械」
• 記憶の観点からの演劇研究(2) : 理論的背景(1) : 三つの主題系,ベルクソン,アルヴァックス
• 第2章 中人数講義型授業における臨床の知 : 総合科目(レクチュア科目)「演劇」を対象として(「臨床の知」による教育実践の研究特集号)
• 第1章 「臨床の知」による教育実践研究の意味(「臨床の知」による教育実践の研究特集号)
• Reflections on Education Practices in Terms of "Clinical Knowledge": Basic Ideas and Case Studies at Chiba University of Commerce (「臨床の知」による教育実践の研究 特集号)
• 記憶の観点からの演劇研究(1) : 文化研究を意識した演劇学の構築をめざして(奥田俊介先生、高木道信先生、高橋正先生退職記念号)
• 演劇的方法による授業実践の意味(リサーチ&レビュー 〜研究プロジェクト発)

スポンサーリンク