抄録
After the war, Japanese theatre director Hijikata Yoshi worked to popularise the Stanislavsky system and attempted to create a socialist-realist theatre that broke away from the pre-war ‘Meyerholdism’. In fact, in writing about Meyerhold’s death, Hijikata wrote after the war that the ‘Biological or mechanical emancipation of theatre and acting techniques was no longer effective, and superficial posters were no longer possible’, and that the purpose of his visit to the USSR in 1933 was ‘to break away from all the influences of the past which had resulted in deficiencies in his directorial approach, particularly the influence of Meyerhold, and to learn new and authentic creative techniques’. However, Hijikata’s students attested that even after the war, the core of his theatrical thought remained within the Meyerholdian aesthetic. However, even if the Meyerholdian elements in Hijikata’s work were to be noted, post-war Hijikata behaved as a ‘socialist realist’ and publicly denied any affiliation with Meyerhold’s theories.
Regarding Hijikata’s post-war attitudes, those in his inner circle have described him as ‘too reserved about “socialist realism” and the “Stanislavsky system”’ and ‘his self-regulation was very strong’. In his later years, Hijikata reflected on his past attitudes as being ‘overly sensitive’. The question that arises is what was behind this attitude? In this regard, considering the relationship between Hijikata and the ‘official’ ideology in the Soviet Union is important.
This study focuses on Hijikata’s experiences at the Moscow Revolution Theatre in the Soviet Union in the 1930s, his evaluation of the socialist-realist writer Konstantin Simonov immediately after the war, and his re-evaluation of Meyerhold in the late 1950s, in relation to Soviet ideology, which has not been discussed in detail. By examining Hijikata’s activities, the study clarifies the historical factors that precipitated the shift in attitude towards Hijikata.
https://ror.org/02rqvrp93 
