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全文: "竹本住大夫"
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  • 巽 広輔
    Review of Polarography
    2017年 63 巻 1 号 1-2
    発行日: 2017/05/09
    公開日: 2017/05/13
    ジャーナル フリー
  • 高橋 大海
    東洋音楽研究
    2003年 2003 巻 68 号 98-101
    発行日: 2003/08/20
    公開日: 2010/02/25
    ジャーナル フリー
  • 廣井 榮子
    東洋音楽研究
    1995年 1995 巻 60 号 99-102
    発行日: 1995/08/31
    公開日: 2010/02/25
    ジャーナル フリー
  • 中山 一郎
    日本音響学会誌
    2003年 59 巻 11 号 688-693
    発行日: 2003/11/01
    公開日: 2017/06/02
    ジャーナル フリー
  • 古井戸 秀夫, 配川 美加, 野村 萬, 三浦 裕子, 花柳 壽輔, 丸茂 祐佳
    舞踊學
    2008年 2008 巻 31 号 126-131
    発行日: 2008年
    公開日: 2010/04/30
    ジャーナル フリー
  • 佐藤 勇夫
    英学史研究
    1992年 1993 巻 25 号 39-48
    発行日: 1992年
    公開日: 2009/10/07
    ジャーナル フリー
    Tsubouchi Shoyo owes his success in his twenties to Sanae Takada a great deal. Takada was a friend of Shoyo's university student days. He graduated from Tokyo Imperial University one year earlier than Shoyo and became a lecturer at Tokyo College. Shoyo was given a lectureship at Tokyo College in 1883 on Takada's recommendation to Azusa Ono, councilor of the board of Tokyo College, soon after he graduated from the university. Ono had already set up his company named the Toyokan Shoten publishing instructive books. It was Takada who told Ono that Shoyo had been translating Shakespeare's Julius Caesar into Japanese, weaving the play into the form of 'joruri, ' ever since Shoyo's student days and advised him to publish it from his Toyokan Shoten. Shoyo's 'joruri' version of Julius Caesar was published under the title Jiyu no Tachi Nagori no Kire-Aji, in Japanese, or The Good Quality of A Liberty Sword, in English, in 1884 from the Toyokan Shoten. Its publishing advertisement in The Yomiuri newspaper of June 5th, 1884, attracted a lot of public attention to it. Julius Caesar was adapted into Japanese play written in a 'joruri'-styled prose according to the structural pattern of Jidaimono joruri' or historical 'joruri' dealing with heroes and heroines of history.
    We can find, it seems to me, the standard pattern of the five dramatic principles : 'jo' or 'introduction' inAct I, 'ha-no-jo' or 'introduction to development' in Act II, 'ha-noha' or 'develoment in development' in Act III, 'ha-no-kyu' or 'climax in development' in Act IV and lyu' or 'climax' in Act V; and the seven passages or scenes peculiar to 'ji-daimono joruri' in Shoyo's version.
  • 申 東旭, 村本 貴英, 橋本 周司, 大照 完
    日本ロボット学会誌
    1993年 11 巻 7 号 1020-1027
    発行日: 1993/10/15
    公開日: 2010/08/25
    ジャーナル フリー
    BUNRAKU is a Japanese traditional puppet show. In this paper we introduce a virtual reality techniques to BUNRAKU so that people can enjoy it interactively.
    The proposed system allows us to play BUNRAKU together with virtual reality in real time through a telephone line by preparing the same stages at distant locations. If a human puppeteer controls the puppet at the one place, the sensors detect the puppet's movement, and these data are sent to the other place, where the puppet's action is reproduced in real time by the robot according to the received data. A shamisen (accompaniment instrument for BUNRAKU) is also available in this system to control the puppets, by using the sound analyzer as system input device.
    Since the system's output is actually moving an object (the robot), it looks much more realistic than a CRT image display.
  • 服部 元史
    バイオメカニズム学会誌
    2002年 26 巻 3 号 137-141
    発行日: 2002/08/01
    公開日: 2016/11/01
    ジャーナル フリー
    身体の動きが表現する感情を,速さや大きさなどの基本的な運動要因によって説明したいという工学的な問題意識から,日本の伝統芸能である文楽人形の動きをmotion capture で測定して解析した.人形の動きを,慣性主軸の動きという主要な部分と,慣性主軸に対する相対運動という副次的な部分に分解し,表現したい様々な情緒に応じて国立文楽劇場の人形遣いが軸の動きを,どのように使い分けているのかを解析すると,局所的な時間的な伸縮やフレーズごとの振幅の大きさといった簡単な概念によって,かなりのレベルまで説明できた.舞踊学における動きの速遅・大小・直曲の解析も指針としながら,本稿の成果をさらに深めて行きたい.
  • ―『日本人の音楽教育』から30年を経て
    カヴァイエ ロナルド, 水戸 博道
    音楽教育実践ジャーナル
    2018年 16 巻 42-47
    発行日: 2018年
    公開日: 2019/12/31
    ジャーナル フリー
  • ―背景と特徴分析―
    多田 英俊
    演劇学論集 日本演劇学会紀要
    2015年 60 巻 1-20
    発行日: 2015年
    公開日: 2017/01/06
    ジャーナル フリー

    KOUNOIKE Yoshitake (1914-1945) was a student of Bunraku puppet theatre who worked tirelessly for a decade, starting from 1935. He took an interest in Bunraku in his youth and studied Edo period literature at Waseda University, receiving guidance from senior researcher ISHIWARI Matsutarô.

    Kounoike's critique work can be divided into three periods; practice, establishment, and completion. In the establishment period, Kounoike wrote critiques for a non-commercial magazine edited by TAKECHI Tetsuji, who was one of Kounoike's lifelong colleagues. After he formed his critique style, he wrote more than thirty.

    One of the vital points of his critiques was the importance of “fuu,” (風) an artistic quality in Bunraku. Another point was a comparison of performances between two Bunraku theaters, the Hikoroku-za and Bunraku-za. Kounoike commended Hikoroku-za's performance because of their superb embodiment of “fuu”, while criticizing the performance of Bunraku-za. A third point was the sensuous importance of music in Bunraku. These critiques appeared in “Joruri Magazine”, a non-commercial theatrical magazine with a limited print run.

    In this article, the author performs a comprehensive study of the “Critiques of Bunraku” written by Kounoike by integrating and analyzing his critiques, all of which were not issued as research publications, but rather appeared in non-commercial magazines.

  • 渋谷 友紀, 森田 ゆい, 福田 玄明, 植田 一博, 佐々木 正人
    認知科学
    2012年 19 巻 3 号 337-364
    発行日: 2012年
    公開日: 2014/10/10
    ジャーナル フリー
    In Japanese traditional performing arts, “breathing” is consideredone of the most fundamental techniques. Recent studies reveal that breathing is not synchronized with body action in masters or experts in Kyogen and Kabuki, Japanese traditional performing arts. This result contrasts sharply with the report that, with growing proficiency,breathing becomes synchronized with body actionin sports and Western dances. Bunraku,which is also one of the Japanese traditional performing arts, is a form of puppet theater in which three puppeteers cooperatively maneuver one puppet. Bunraku has thus different characteristics from Kyogen and Kabuki; the body (puppet) that performs actions is different from thebodies (puppeteers) that control the actions. Therefore we can expect to find, in Bunraku, a relation between body action and breathing which is different fromthat in Kyogen and Kabuki. In this paper, we clarified relation between body action and breathing in Bunraku puppeteers and compared it with that found in Kyogen and Kabuki. Two Bunraku puppeteers who were different in career (one puppeteer’s career spanned 31 years while the other puppeteer’s career spanned 13 years)participated in our experiment: We asked them to execute the following three tasks; the first task was to perform basic actions called Kata with a familiar puppet, the second was to perform the same basic actions with an unfamiliar puppet, and the third was to perform an actual Bunraku play both to the music by shamisen and to the narration by Tayu. In order to clarify whether or not a puppeteer’s breathing was synchronized with his body action, we investigated the correspondence between his breathing phases and the puppet’s motions in performance aswell as the periodicity and stability of his breathing by analyzing autocorrelation of and applying Fourier analyses to breathing curves. As a result breathing was found less synchronized with body action for the more experienced puppeteer with 31 years career than for the less experienced puppeteer with 13 years career. When they executed the first and third tasks, in addition, the more experienced puppeteer showed more periodic and stable breathing patterns than the less experienced puppeteer did. These findings are consistent with the previous ones found in Kyogen and Kabuki. On the other hand, a clear difference in breathing pattern between the two puppeteers was not found when they did the second task, which is not necessarily consistent with the finding in Kyogen and Kabuki. Along with the previous findings, the results suggest that a common breathing technique may be used among Japanese traditional performing arts, Kyogen, Bunraku and Kabuki.
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