Rural community theaters (Nouson-butai) in Awa, mainly for puppet play, are characterized by the changing mechanism, which makes spatial changes in accordance with each use. The purpose of this research is to establish the composing elements of three lands of stages, pupet play, Kabuki play and annual events, and to clarify the changing mechanism in terms of the composing elements. I set the whole area of Naka county in Tokushima pref. As the object of field survey. Rural community theaters hi Awa are composed hi very rational way with reciprocally related five elements affected by minimal motion.

抄録全体を表示

The purpose of this paper is to analyze specialization of puppet play in rural community theaters with Funazoko-butai forms; temporary and permanent. We set Katsuura River basin area as the object of the field survey. As a result, it was found that the forms of the Funazoko-butai exist and the rural community theaters can be classified into three types; Hira-butai. temporary Funazoko-butai, and permanent Funazoko-butai. We revealed the changing mechanism of five elements within each theater type. In spite of becoming exclusive for puppet play, rural community theaters continued to maintain five elements to make spatial changes in accordance with each use of plays and annual events.

抄録全体を表示

The purpose of this paper is to study the relation between working efficiency and the space of the stage during the preparation of the stage by investigation of using stage. We investigeted the working process from setup period to the stage by 8 different performances at three theaters. The conclusion shows : (1) In order to increse the working efficiency, it is not enough only have main stage but also should have assembly space and side stage. (2) Because the regulation of the lighting fixtures is very often, so as to make it simply it is necessary to set up the light bridge.

抄録全体を表示

Aichi Art Theater is the first facility in Japan that was specifically designed to present full-scale operas. A purpose of this study is to extend our knowledge which is useful to plan similar theater hereafter by analyzing the way of uasges of the theater. In this paper we deal with the usages of fly facilities. We grasp and analize the quantity of their movement.

抄録全体を表示

This paper traces some links between typology and location of NOH-stages (NOHBUTAI) in Wakasa. Typology depends upon four ; (1)plan, (2) space division of the main stage (HON-BUTAI) and the back stage (ATOZA), (3) orientation of NOH-stage and the shrine (SYADEN), (4) site plan of NOH-stage and the shrine. NOH-stages located near Obama, the historical center of Wakasa, had some similarities to that of urban NOH-stages. The similarities between the tow decreased in proportion to the distance from the center. It means that NOH-stages in Wakasa were not independent from urban ones but were deprived from urban ones.

抄録全体を表示

Numerous NOH-stages(NOHBUTAI) remain in Sado and Wakasa districts. They were built on the premises of the shrine, which were served for divine rites. This paper deals with the NOH-stages the two districts which belong to the rural stage(NOUSONBUTAI) from the view point of the planning and design. Both difference and similarity of the stages are made clear in terms of the plan within the districts. The two districts share certain similarities in that most of the stages have temporary constructions, and back stages(ATOZA) are also used as main stages(HONBUTAI) in order to make the stage square.

抄録全体を表示

This report is directed to the Fukushima Prefecture that are surviving today rural KABUKI includes the Minamiaizu Area, which has been distributed are many rural KABUKI and Theatres that have originated in the previous Meiji period. Below, also shown three specific reporting methods. (1) The transition on the performance of rural KABUKI that extant, explore from the book on folk history of each municipality and testimony of site residents. To reveal the overview of Theatres that has been used in the performance of rural KABUKI. (3) Report on the current state of management, including the performance activities of rural KABUKI and Theatres.

抄録全体を表示

Today, we have various production in plays and operas, in which settings tend to be larger and heavier. But these settings are restricted in size and weight by insufficient flying loads and they can't produce enough. So we have to reconsider about the stage machinery, especially, the flying load. It is important process in the planning of theatres to plan the stage machinery. This study compares the data of 20 years ago with today state and aims to make data for the planning of theatres and the flying system in them.

抄録全体を表示

This paper reports on findings of outdoor stage "playhouse" in Nagano prefecture that represent about 50 percent of the whole. The outdoor stages is investigated by two points, one is a field survey of the form, the other is a hearing from the inhabitant. Furthermore we analyze the data that obtain from the survey by the statistical method, and try to classify outdoor stage into architectural form. Results are summarized as follows. 1) The existence of outdoor stages will be influenced by social programs since the Edo era. 2) The outdoor stages are classified under four groups into architectural form of scale, plan, structures, location and so on.

抄録全体を表示

The purpose of this study is to describe the inhabitants' consciousness of the preservation and utilization of outdoor stage "playhouse" in Nagano prefecture. The outdoor stage is divided into two classes, one is active (Area-A)and the other is passive (Area-B), about preservation and utilization. The inhabitants' consciousness was invetigated in Area-A and Area-B from October to December in 1990. The results are as follows; 1)The rate of recognition of outdoor stage was higher in Area-A compared with Area-B. 2) Mainly the inhabitants paid a visit to the outdoor stage at the time of entertainments such as the kabuki performance, karaoke and so on. 3)The oreserved and utilized activities was higher in Area-A than in Area-B, and inhabitants showed a stronger disposition to preserve and utilize outdoor stage in Area-A. 4) In the future the mean needs to pick up inhabitants' interest in entertainments and to make a chance of a visit to outdoor stage at the time of entertainments.

抄録全体を表示

This paper evaluated what kind of impressions the participants get when they see the objects illuminated from several basic directions on the stage. This research would be helpful to offer objective data for the stage lighting approaches. Based on the questionnaires, this paper revealed that the participants had positive impressions on the objects when the light came from the front side of the objects. On the contrary, they had negative feelings when the light came from above or the bottom. Also, the participants had no featured feelings when they saw the objects illuminated from the side or the rear. Therefore, the lights from these directions should be used mixed with the ones from different directions, or used as the auxiliary lighting. Moreover, the shadow was a factor that changed the participants’ impressions. For example, they had different feelings when the researcher changed the sizes of shadows. In addition, hazy-shadows or unnatural-shaped-shadows changed the participants’ feelings.

抄録全体を表示

日本の歌舞伎の演劇空間は, 西洋の透視図法を応用したとは異なって, 遠近法の影響を受けながらも, 独自の発展をしてきた。歌舞伎のの特徴は, 西洋のと違い間口が横に拡がったプロセニアムである。本研究では, 歌舞伎のを描いた図である道具帳から, と背景画の特徴を考察する。全体を描いた道具帳の図は, 遠近法を応用した工夫を盛り込んで描かれているが, 横に長いでは左右にいっぱいに描かれるから, の両側が視野から大きくはみだす。また一画面に複数の消失点が見いだされるものもある。消失点を複数にすれば, 視点が1点に定まらないからから, 空間の一体感は希薄になるが, このことが, 思いがけない演出効果を生みだしているようである。そして客席を貫く花道での演出も, その曖昧な空間意識を助長している。西洋の演劇では, 演じられる世界を観客は額縁付きの絵画を見るように客観的な視点をもって鑑賞する。しかし日本の歌舞伎芝居は, 絵のようなをみていながらも, と客席が混在となるから, 観客が芝居の中に入っていけるような錯覚を感じ, 単に鑑賞者としてだけでなく「参加者」になることで, 芝居を楽しんでいるようだ。

抄録全体を表示