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

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概要

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• The video analysis undertaken here gives an interesting, or rather exciting, contrast with the observation by me as a spectator. Although in the theatre I felt a certain contradictory relationship between "words" and "movements", they in the video turned out to be rather closely cooperating and, in this sense, not contradictory but united with each other. This striking difference between my personal experience and the recorded data means that in the video, as a result of the camerawork, the cooperative feature of the relationship between "speakers" and the "movers" has been more "focused on", whereas for me as a spectator, the spatial constellation there --- "male speakers" on the platform-like "sajiki" (stage on the stage) contra "female movers" down on the ground level of the stage ---- prefigured the thematic predominance of men against women. Facing these two different aspects of one and the same production, I will argue that one has to avoid both the essentialist fallacy insisting that a personal experience in the theatre should be the sole "evidence" for theatre research, and the epistemological fallacy maintaining that the recorded data should be more "objective" and so have the last words. Rather, I would like to conclude from these split phenomena the directorial multiplicity : the director helps performers create cooperation (I call this "direction I ") and then transforms it for his thematic concept (I call this "direction II"). If the camera is useful for examining the task of direction I, the live spectator is the very target of the direction II. Then, my final question should be : how is the mechanism of this transformation from direction I to direction II, and what does this transformation mean for us? In the last scene, a plenty of books collapse from a huge stage- set tower, alluding the fall of predominance of the male : a symbolic castration. Simultaneously, the male speakers with their role books are so shocked with this happening as to be "killed" by the female performers without any resistance. If this ending is effective, there must be an unconscious identification between two heterogeneous signs of books : one as the symbol for phallic ideology (the book tower), the other as the symbol for the tragedy itself (the role books). A further interpretation is needed.

• 2007-03-31

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)

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