「再演」の現代詩学

──ドキュメント／アーカイヴと舞台芸術──

抄録

This article focuses on the recent phenomenon of the ‘archival turn’ in performing arts, occurring since the 1990s, with examples taken from Japan and French-speaking countries/regions, as well as research conducted in French, English and Japanese. The archival turn implies that archives have shifted from being the means to the purpose — that is, the centre of interest — of both research and practice in the performing arts. As a result, an increase in documents/archives and documentary (or archives-related) practices was observed. Technological progress has made it easier to record, document, store and share. It should also be noted that, after Foucault and Derrida wrote on the matter, the singular form of the term ‘archive’ came into use with more abstract connotations, free from archives as cultural facilities. The temporalities of a performance have also changed from being ephemeral and unique to being more durational and reiterative. The re-enactments of past performances, which have significantly increased, can be considered documentary practices. Contemporary documentary theatre seems to join this trend in the archival turn, as shown in the work of Milo Rau and others.