The purpose of this paper is to clarify the characteristics of Sartre’s audience theory in his theater theory through a reading of The Flies. Sartre wrote The Flies in 1943 and this work was performed at Théâtre de Cité directed by Charles Dullin. Paris was under German occupation for about four years from June 1940 to August 1944. In 1943, when The Flies was performed, Sartre also published Being and Nothingness. Sartre is known as a philosopher of freedom, and this concept of freedom is depicted as an important theme in The Flies, as well as in Being and Nothingness. This paper aims to investigate his theater from the perspective of bad faith and freedom based on Michel Contat who read Being and Nothingness as a book about resistance against Germany. Freedom in The Flies is embodied by the protagonist Oreste, as pointed out by Robert Lorris and Fronçois Noudelmann. Oreste, the only free human being in Argos, kills Égisthe and Clytemnestre to take the suffering and regret of Électre and the citizens of Argos, which then restores the absence of his soul. From the perspective of bad faith, the analysis will focus on Électre and the citizens of Argos. Électre, who was complicit in the murder of her mother, could not escape from the guilt and denies Oreste, the direct perpetrator, and was attracted to the sweet words of Jupiter, the god of flies and death, and finally falls into madness. The citizens of Argos were portrayed as cowardly citizens who followed those in power and as neighbors who accused their allies. Reading The Flies as a play about the allegory of Paris under occupation, we can think of the citizens of Argos as anguished Parisians, while Électre becoming mad as a Parisian who has joined the German side in order to survive but is experiencing unstable everyday life. In Sartre’s lecture “Le style dramatique” (1944), he said that there is an “absolute distance” in　theater and that the audiences, because of this distance, have the desire to go outside themselves in order to see themselves better. When an audience is watching a play and is emotionally attaching themself to an actor, he or she is in a state where he or she sees the actor as the character of the performance within themself. This paper will conclude that when the audiences understood the Other as such a person and invited the Other into the Self, the audiences were able to apart themselves from being alone and enter a state of non-uniqueness. By watching The Flies, the citizens of Paris, who went in a state of bad faith under German occupation, were able to know not only their own painful experiences but also the suffering of people from various walks of life, and they were able to gain freedom which meant a state of non-uniqueness apart from themselves.

抄録全体を表示

This paper discusses 813 (1923) performed by Ii Yoho’s theatre company at the Hongoza (Hongo Theatre). This play is an adaptation of Maurice Leblanc’s detective novel, 813; however, some of the characters and settings have been replaced with Japanese alternatives, and some scenes have been omitted. Ii Yoho (1871–1932) is considered a leading actor of the Shinpa: a new theatre school known to be significantly different from traditional Kabuki, which was established in the Meiji era. He first appeared on stage at the Seibikan in 1891 and remained at the forefront of Shinpa until his death in 1932. His productions are considered to be influenced by Kabuki, exposing him significantly to the disdain of theatre critics. Consequently, Shinpa is now regarded as an imitation of Kabuki. Early-Shinpa was undoubtedly influenced by Kabuki; however, it sought its own unique style as well. Kawakami Otojiro (1864–1911), a leading actor of Early-Shinpa, is thought to have spent his life working on a style of theatre that differed from Kabuki. Predominantly for this reason, some researchers argue that Early-Shinpa and Shinpa should be classified as separate genres with different lineages. However, there are elements in the staging of 813 that suggest a continuity between Early-Shinpa and Shinpa. The first reason is that it is an adapted detective play. The early-Shinpa frequently staged detective plays based on newspaper reports of crimes and detective novels from the West. Such performances continued existing until the early Showa period. Ii Yoho also staged detective plays. The staging of 813, based on Leblanc’s detective novel, suggests that Ii adopted the performance of detective plays from Early-Shinpa; another reason is the use of spectacular stage design in its production. In the pre-production publicity, Ii had touted the newly designed stage set as a selling proposition of 813. The sets were equipped with devices such as trapdoors, lifts and hidden spaces, and a film was used to represent the big fire scene. These techniques were once the specialty of Kawakami Otojiro. In the staging of his 1894 trilogy of works Igai (meaning ‘unforeseen’), Mata-Igai and Mata-Mata-Igai, he utilized the latest technology of his time. Notably, the appearance of a full-scale locomotive on stage in Mata-Mata-Igai was applauded by the audience. It is thought that Ii’s attempt to attract audiences with the latest stage sets was greatly influenced by the work of Kawakami. In summary, the performance of 813 shows Shinpa still retains some of the characteristics of Early-Shinpa in the Taisho period.

抄録全体を表示

Westernized theater emerged amidst Japan’s existing theater circuit during the early 20th century. Soon after, in the 1920s, Japan’s puppet theater scene saw the emergence of its Western counterpart. The pivotal moment came in 1923 when the marionette play Aglavaine et Sélysette was performed by Ito Kisaku and Senda Koreya, who would later become active in the shingeki theater world. While this play is widely recognized as pioneering the establishment of modern Japanese puppet theater, there has been little discussion about the period leading up to this performance. This thesis focuses on the context that led to the birth of modern Japanese puppet theater by examining discourse surrounding the art form in the 1900s and 1910s. Specifically, it explores why a new form of puppet theater emerged at this time, the concrete influences that shaped the creation of the ''Western-style,'' and the changes in the perception of the art form in Japan. The thesis first compares the performances of the Victorian marionette troupe, the D'Arc, which came to Japan in 1894, with the performance of Aglavaine et Sélysette of Ito and Senda in 1923. While the former was viewed as a mere spectacle, the latter was recognized as a sophisticated theatrical work. Second, to trace the evolution of perceptions of puppet theater between these two performances and the impact it had on the Japanese theater scene, this thesis refers to the commentary on Western puppet theater that appeared in literary and theatre-focused magazines, such as Kabuki, from 1905 onward. Likewise, critical discourse on Japanese puppet theater in general, found in Kabuki and Engei Gahō, are also compared. One notable influence of Western puppet theater on Japanese shingeki theater was the incorporation of costume designs from German artistic puppet theater into a shingeki play, which demonstrated the growing appreciation for Western puppet theater as a serious art form. Lastly, this thesis examines how Tsubouchi Shoyo re-evaluated Japanese puppet theater, in the late 1910s, by comparing it with Western puppet theater.

抄録全体を表示