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  • 三倉 葉子
    日本建築学会計画系論文集
    2008年 73 巻 629 号 1651-1656
    発行日: 2008/07/30
    公開日: 2009/09/30
    ジャーナル フリー
    The influence of modern Japanese landowners to their own properties was strengthened by the Land Tax Revision, which had guaranteed the individual landownership. This paper takes up Shinkyogoku as an example. Shinkyogoku is a typical pleasure-resort district in modern Kyoto which had developed at the beginning of the Meiji era. In this district landowners can be divided into two categories; the settled landowners and the absentee ones. Both landowners leased their properties to the small tradesmen and accumulated lots in order to invite theater owners who could attract enormous customers. However, the ways of land accumulation were different according to the landowners category. These managements brought about the formation of a shopping street and the enlargement of theaters in Shinkyogoku.
  • 馬場 辰己
    演劇学論集 日本演劇学会紀要
    1981年 19 巻 39-50
    発行日: 1981/12/11
    公開日: 2020/12/14
    ジャーナル フリー
  • 高橋 博
    地学雑誌
    1988年 97 巻 2 号 i
    発行日: 1988/04/25
    公開日: 2009/11/12
    ジャーナル フリー
  • 土田 牧子
    演劇学論集 日本演劇学会紀要
    2021年 72 巻 144-151
    発行日: 2021/06/15
    公開日: 2021/06/29
    ジャーナル フリー
  • ―アメリカ占領軍による歌舞伎検閲の実態
    ジェームズ ブランドン, 鈴木 雅恵
    演劇学論集 日本演劇学会紀要
    2004年 42 巻 145-197
    発行日: 2004/11/15
    公開日: 2018/12/14
    ジャーナル フリー
  • 武隈 喜一
    ロシア語ロシア文学研究
    2015年 47 巻 282-288
    発行日: 2015/10/15
    公開日: 2019/05/22
    ジャーナル フリー
  • ―第三回改良演劇の実体と、その挫折―
    後藤 隆基
    演劇学論集 日本演劇学会紀要
    2011年 53 巻 25-42
    発行日: 2011年
    公開日: 2018/01/12
    ジャーナル フリー

    In 1902, Kyoto Engeki Kairyo Kai, literally “The Theatre Improvement Organization in Kyoto”, was established. The aim of this organization was to reform conventional theatrical forms in order to modernize them, placing special weight on improving dramatic scripts. Takayasu Gekko, who has been regarded as an old-fashioned playwright of Kabuki, took a key role, as a matter of fact, in this new movement.

    However, the activities of Kyoto Engeki Kairyo Kai ended after giving only three public performances. Although the organization used to focus on the pieces of Gekko, his drama was not staged in the organization's last public performance in 1903, in spite of having been nominated initially.

    In this paper, I re-examined the relationship between Gekko and the organization, especially focusing on the meaning of the third and last public performance, which has never been examined in detail until now. This investigation shall clear out the reason why the movement failed, as well as the real reason which disturbed modernization of Japanese theatre at that time. This is an attempt of reassessing the playwright Takayasu Gekko in the context of the theatre history in Japan.

  • ――尾崎紅葉、小川未明らの逸文にふれつつ――
    吉田 遼人
    日本近代文学
    2017年 97 巻 94-103
    発行日: 2017/11/15
    公開日: 2018/11/15
    ジャーナル フリー
  • 神山 彰
    演劇学論集 日本演劇学会紀要
    2016年 63 巻 85-91
    発行日: 2016年
    公開日: 2016/11/30
    ジャーナル フリー
  • 経済史・経営史研究実践の試み
    宮本 又郎
    経済史研究
    2013年 16 巻 133-144
    発行日: 2013/01/31
    公開日: 2018/10/01
    ジャーナル フリー
  • ―もう一つの資料の解明
    福島 鑄郎
    出版研究
    1986年 17 巻 113-134
    発行日: 1987/03/25
    公開日: 2020/03/31
    ジャーナル フリー
  • ―松居松葉とアイルランド演劇―
    小嶋 千明
    比較文学
    2005年 47 巻 7-22
    発行日: 2005/03/31
    公開日: 2017/06/17
    ジャーナル フリー

     The modernisation of the Japanese theatre began with translations and adaptations of Western plays, and there were a number of Irish plays translated and adapted in the Japanese theatrical scene. Ireland was trying to establish its own national theatre and had aspects similar to Japanese New Drama. In this paper, Shoyo Matsui's adaptational process is examined taking the example of Yuki no furu yo [Snowy Night].

     Shoyo Matsui was one of the prominent reformers of the Japanese theatre and he produced a multitude of translations and adaptations as well as plays of his own creation during the foundational period of New Drama. His first travel to Europe was between 1906 and 1907 where he studied actual modern Western plays. After returning to Japan, he introduced a substantial array of theatrical reforms, ranging from performance skills to theatrical systems.

     Yuki no furu yo [Snowy Night] premiered in March 1921. It is an adaptation of The Troth written by Rutherford Mayne, a Belfast playwright. The story inspired Matsui to write a Japanese version because as he said, “the original reminded me very much of tragedies which occurred in the North-East district where I was born”. Using Kabuki and Joruri motifs, the adaptation is converged into the dichotomy between “landlord and tenant farmers”and its dramatism is enhanced from the original.

     Like Mayne, Matsui focused on the ordinary people and considered plays for the general public. Since he started his career as a Kabuki playwright, he was well aware of the power of classic dramas attracting the people, thus attempting to use their essence. Meanwhile, he defied conventional theatrical systems and tried to establish the New Drama comparable to Western theatre. Matsui’s reformation led to fierce opposition from conservative supporters of the theatre, though his methods subsequently took over this conventionalism.

  • 小櫃 万津男
    演劇学論集 日本演劇学会紀要
    1979年 18 巻 5-28
    発行日: 1979/10/15
    公開日: 2020/12/14
    ジャーナル フリー
  • 徳永 高志
    文化経済学
    2003年 3 巻 4 号 77-86
    発行日: 2003/09/30
    公開日: 2009/12/08
    ジャーナル フリー
  • ──ラジオの舞台中継放送と劇場の同時解説──
    渡邊 麻里
    演劇学論集 日本演劇学会紀要
    2021年 72 巻 1-21
    発行日: 2021/06/15
    公開日: 2021/06/29
    ジャーナル フリー

    Currently, a simultaneous audio commentary “Earphone-Guide” is provided in Kabuki performances through earphones to explain the synopsis, casting, costumes, tools, and Kabuki-specific conventions in a timely manner as the drama progresses. Officially introduced at the Kabuki-za Theater in November 1975, it was an epoch-making attempt in the history of theater, providing commentary for native speakers of Japanese. Since its introduction, it has been used by many spectators, but, while it occupies an important position in Kabuki, several pros and cons have been identified since its introduction, and even now, 45 years later.

    Based on this situation, we will clarify the background and origin of the Earphone-Guide, describe what the Japanese commentary in Kabuki comprises, and examine the relationship between the audience and the commentary during the viewing experience by comparing it with the announcer of radio stage broadcasts. In recent years, research on the relationship between theater and new media has been progressing, both visually and audibly. By discussing the Earphone-Guide, I hope to help explore the possibilities of the use of “guide” in theaters in the future.

  • ―流動するテクスト、揺籃期の〈芸道物〉をめぐって―
    赤井 紀美
    演劇学論集 日本演劇学会紀要
    2014年 58 巻 1-20
    発行日: 2014年
    公開日: 2017/01/06
    ジャーナル フリー

    KAWAGUCHI Matsutarô's novel Tsuruhachi and Tsurujirô (1934) gained popularity after it was adapted into a play and then into a film. This paper examined how the novel was received. In addition, it also clarified the fluid nature of Matsutarô's text by examining the problems of its adaptation and relationship to the Japanese performance art genre “geidômono.”

    The main characters of Tsuruhachi and Tsurujirô are the performers of the Shinnai musical performance art. Together with The Story of the Last Chrysanthemums that follows Kabuki actors, Tsuruhachi and Tsurujirô has generally been considered the performance art genre's representative work. The performance art genre “geidômono” refers to the group of works that depict a world where performance holds a supreme value beyond any particular person. Undeniably, this work and the theatrical production of its predecessor The Story of the Last Chrysanthemums functioned as the impetus creating this genre. Nevertheless, this investigation has shown that while both of these works were treated as similar stories in their historical contexts, their structures greatly differ. Furthermore, Tsuruhachi and Tsurujirô has been considered an adaptation of the long-time Hollywood film Bolero. Clearly, portions have commonalities with Bolero, for instance, the setting, but Tsuruhachi and Tsurujirô's structure and character models differ distinctly from Bolero.

  • 伝統と革新の系譜
    宮本 又郎
    経済史研究
    2014年 17 巻 23-48
    発行日: 2014/01/31
    公開日: 2018/10/01
    ジャーナル フリー
  • 渡邊 麻里
    文化資源学
    2018年 16 巻 17-33
    発行日: 2018年
    公開日: 2019/07/12
    ジャーナル フリー

    1975年、歌舞伎座において、日本人のための日本語による、同時解説イヤホンガイドが導入された。現在、イヤホンガイドは歌舞伎公演に定着し、多くの観客が利用するようになり、歌舞伎において重要な地位を占めている。しかし、イヤホンガイドの実態や、誕生の経緯とその目的は、これまで明らかになっていない。そこで本稿では、イヤホンガイドの歴史を振り返り、歌舞伎におけるイヤホンガイドとは如何なるものかを改めて考えるため、1960年の歌舞伎アメリカ公演の際に導入された、イヤホンを用いた同時通訳に着目した。 この同時通訳は、当時ニューヨーク・シティ・バレエの総支配人であり、アメリカ公演で重要な役割を果たしたリンカーン・カースティンの発案によるものである。1960年以前、同時通訳は国際会議では利用されていたものの、舞台芸術においては、同時通訳ではなく、パンフレットや開幕前及び休憩時間における解説が主流であった。それでは何故、アメリカ公演において、歌舞伎に同時通訳が導入されたのか。その目的と経緯を、歌舞伎公演の前年の1959年に行われ、カースティンが関わった雅楽アメリカ公演や、歌舞伎アメリカ公演における演目選定を通して考える。また、アメリカ公演の同時通訳は、ドナルド・リチーと渡辺美代子の二人の通訳者により行われ、その同時通訳台本が残されている。この台本をもとに、当時上演された『仮名手本忠臣蔵』と『娘道成寺』の二つを取り上げ、同時通訳の内容がいかなるものであったのかを考察してゆく。

  • 西洋比較演劇研究
    2013年 13 巻 2 号 121-142
    発行日: 2014/03/31
    公開日: 2014/04/03
    ジャーナル フリー
  • 加藤 厚子
    史学雑誌
    2000年 109 巻 6 号 1165-1188,1255-
    発行日: 2000/06/20
    公開日: 2017/11/30
    ジャーナル フリー
    The film law, implemented on October 1,1939 aimed at controlling the industry under the exigencies of the war. The main purpose of the law was to qualitatively enhance film art, and not to censor artistic expression. Through a critical analysis of the diary of Mikio Tatebayashi, a staff member of the Home Ministry's Bureau of Police Affairs, this essay demonstrates the intentions held by the creatorsof the film law, and the process in which it developed. Prior to the passage of the film law, the market dominance of the major motion picture company Toho had severely affected the domestic motion picture scene, leading to serious conflicts among motion picture companies. At the outbreak of the Sino-Japanese War in 1937, the Bureau of Police Affairs began to monitor the social influence of films, and altered its policy from negative control based on censorship to a "positive" policy for ethnic cultivation. The Bureau drafted the film law for the purposes of controlling the growth of the film industry, covering areas diverse as production, distribution,and exhibition. All of these were thought to have led to reckless overproduction. The decision to "guide" production rather than censor was considered to be more effective in order to raise the level of films. At the stage of legislation, the eventual aim was to favour the Bureau side, and facilitate the selection of programs during the process of control and distribution of products on the basis of constitutional improvement of the motion picture industry. During the process of deliberation by the Legislative Bureau, minor corrections were made after the generated inquiry regarding the function of the film law. This is interpreted as treatment independentfrom any police activities, which had influenced many facets up to that time. But however, parliamentary deliberations judged the film law to authorize excess supervision over film production, thus the film law was subjected to severe criticism. From the inception of the film law to the end of the war, no real qualitative enhancement of film production was accomplished. Continuing defects and contradictions in the film law prove that the legislative attempts to improve and rationalize the motion picture industry did not provide a conductive atmosphere for higher production levels.
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