寺山修司『街に戦場あり』にみる「ダイアローグ」

――中平卓馬、森山大道の写真理論とともに――

抄録

　Terayama Shuji (1935-1983) was a genre-straddling artist; a poet, critic, dramatist, photographer. Now, with the 25th anniversary of his death, his accomplishments have been well studied including the various activities of his theatre company, Tenjo-Sajiki founded in 1967, or his Tanka and Haiku, which he started to compose in the 1950s. However, in contrast to these solid studies, his works of the 1960s, the time when his activities were not with the theatre company but as a private practice, have not been properly considered. Also, the relation between Terayama and photography has not been well discussed yet.

　In this situation, There Are Battlefields in the City (Machi ni senjyo ari, 1968), which this paper studies, is a great example which covers two problems: “Terayama's works of the 1960s” and “Terayuma and photography”. This is because the book was written during the years 1966-68 and published with photographs taken by Nakahira Takuma (1938-) and Moriyama Daido (1938-), who occupy now a very important position in the history of Japanese photography.

　In this paper, we will examine first the theory of “Dialogue” that Terayama theorized in Postwar Poems (Sengo-shi, 1965). He made it clear in this book that creation should include accidents which even the author cannot anticipate. Next, we will consider the meaning of human collaboration in Terayama's activities during the 1960s and discuss the relation between Terayama and photography. By doing so, we will see how Terayama put into practice his ideal of “Dialogue” in producing the book.