『夕鶴』、民話から舞台まで

―『昔々フォーイフォイ』との対比において―

抄録

　The purpose of this study is to elucidate the dramatic technique (Dramaturgie) of Kinoshita Junji’s play Yūzuru (“The Twilight Crane”), which is based on the folktale Tsurunyōbō (“The Crane Wife”). This will be done through a comparison with the Korean folk play Yennal Yetchoge Whoywhoy (“The life of a Hero”, by Choi Inhun), which bears numerous resem- blances to Yūzuru, and also by comparing both plays with their original source folktales.

　The dramatic technique a writer employs when composing a work can generally be divided into two categories——the internal and the external. In the case of Yūzuru, the internal dramatic technique is evidenced as follows: the female hero of the folktale Tsurunyōbō is changed into a male hero in the play, and through this hero Yohyō ，the conflicts arising from human desires and the accompanying tragedy, are emphasized.

　Nevertheless, research up to now on Yūzuru has mainly focused on such external dramatic techniques as the appearance of new characters (Sōdo and Unzu, for example) who are not in the original folktale, or on the poetic charm of the dialogue in Yūzuru. Accordingly, productions of Yūzuru (for example, Yamamoto Yasuei no Kai), following these interpretations, have continued to make Tsū the center of the play.

　However, as a conclusion, to this study, I would like to suggest that Yohyō , who best reflects the central internal dramatic technique of Yūzuru, be made the hero of the play in future productions.