演劇学論集 日本演劇学会紀要
Online ISSN : 2189-7816
Print ISSN : 1348-2815
ISSN-L : 1348-2815
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論文
  • 『アーラピ』における共同制作と先住民表象の可能性
    神崎 舞
    2024 年 79 巻 p. 1-13
    発行日: 2024/12/15
    公開日: 2025/01/09
    DOIhttps://doi.org/10.18935/jjstr.79.0_1
    ジャーナル フリー
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    Aalaapi began as a dual project: a radio documentary and play. The former was directed by Marie-Laurence Rancourt, a non-indigenous Québécois sound artist, and the latter, by Laurence Dauphinais, a non-indigenous Québécois theatre director and actor. The play, Aalaapi, premiered in Montréal in 2018 and depicted the life of Inuit people located in Nunavik in northern Québec. A year before the premiere of Aalaapi, Robert Lepage, a Québécois director, directed Kanata, in collaboration with Ariane Mnouchkine's Théâtre du Soleil. However, Kanata sparked controversy because indigenous people were absent from stage. This work was perceived as cultural appropriation and was ultimately withdrawn.

    Contrary to Kanata, in Aalaapi, Rancourt and Dauphinais work with Inuit people from the beginning of the creative process, and only Inuit actors appear on stage. Thus, these people in the North who have long been oppressed and ignored, illustrate themselves through their own storytelling. Further to the Kanata controversy, Aalaapi is considered a response to the possibility of representing of indigenous people on stage. This study examines the ingenuity of mise-en-scène in Aalaapi by analyzing its stage presentation.

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  • 新富座におけるグラント歓迎と明治一二年の外交問題
    堤 春恵
    2024 年 79 巻 p. 15-35
    発行日: 2024/12/15
    公開日: 2025/01/09
    DOIhttps://doi.org/10.18935/jjstr.79.0_15
    ジャーナル フリー
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    In 1879, four foreign dignitaries including the former president of the United States, U. S. Grant visited Japan and were invited to kabuki productions at Shintomi-za. These visits by foreign dignitaries were associated with two important diplomatic issues: negotiating the revision of unequal treaties with the western countries and the Ryūkyū territorial question which involved relationship between Qing China and Japan.

    The Meiji government and a prominent journalist of that time, Fukuchi Ōchi, lavishly entertained these foreign guests in the hopes of facilitating negotiations over the unequal treaties and Ryūkyū territorial question.

    For the special production performed for Grant, Shintomi-za produced a kabuki play written especially for that occasion, relating events of Grant's life through the metaphorical mirror of a civil war that took place in 11th century Japan, with Minamoto no Yoshiie serving as the stand-in for Grant. The final dance piece was presented by a group of geishas wearing costumes imitating the American flag.

    While the play and the dance piece were written by the playwright Kawatake Mokuami, Ōchi gave detailed instructions about its direction. This paper attempts to argue that by presenting the ample double images of the United States and Japan, represented in the new kabuki play and the dance piece, Ōchi tried to convey the message which would create rapprochement between the United States and Japan.

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