山田耕筰の舞踊上演をめぐって

――バレエ・リュスの総合芸術から「融合芸術」へ――

抄録

　In 1916, Kósçak Yamada created and performed a new genre of dance called buyōshi (choreographic poem). This was an epoch-making event because it was the first time modern dance was performed in Japan. Unfortunately, it was considered unsuccessful. Although it has been highlighted that Yamada was inspired by Sergei Diaghilev's Ballets Russes in Berlin, no studies to date have focused on its influence on Yamada's works. Thus, the purpose of this study is to evaluate Kósçak Yamada's dance performances from the perspective of the Ballets Russes's “Total Work of Art". It will also discuss Yamada's dance theory and how he created his dance works, buyōshi, being influenced by the Ballets Russes. It will specifically consider the libretti, the music manuscripts and costume designs in his works.

　“Total Work of Art" (Gesamtkunstwerk) was originally envisioned by Richard Wagner, but it was the Ballets Russes that achieved a perfect balance between dance, music and stage design in the field of ballet. Yamada, however, regarded its “Total Work of Art" as insufficient, since the three elements were produced individually. As a result, Yamada attempted to surpass the Ballets Russes's concept by proposing yūgō geijutsu (fusion art), in which dance, music and stage design were completely unified, and he did so by devising these elements on his own. At that time, his dance performances were only the beginning of his ideal art form, since he also produced it in other genres such as lied, opera and film.