イギリスの劇場研究(一)

概要

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It is very regrettable to find the confusion of Elizabethan "thrust stage" with the most advanced "Theatre of Shock" or "Theatre of Audience Participation" in last two decades. Thanks to Pirandello, the close connection between actors and audience, which had been ignored for hundreds years, came into the limelight. The most radical groups left their experimental stages to be seen at the theatre-in-the-round or similar little playhouses surviving from the twenties ; probably because they might aim at the revival of Elizabethan customs. No doubt it is the easiest way to use the thrust stage, when they try to revive close relation between players and audience: but it is a quite different question to pick some spectators up on the stage as Off-Off-Broadway group did. They have to remember that there was a railing around Elizabethan jutting stage to prevent spectators from climbing. It is evident that there was no "Audience Particpation" in Shakespearean Age. To draw spectators to the stage is one thing, and to draw them to act on the stage is another. Such a confusion often comes from the insufficient knowledge of theatrical history. That is why I decided to write a short essay about this matter.
東京家政学院大学の論文