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全文: "青山忠良"
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  • 樋口 巌
    体育学研究
    1966年 10 巻 2 号 7-
    発行日: 1966/07/15
    公開日: 2016/12/31
    ジャーナル フリー
  • 山下 充康
    騒音制御
    1990年 14 巻 3 号 145-148
    発行日: 1990/06/01
    公開日: 2009/10/06
    ジャーナル フリー
  • 松永 直美, 矢吹 信喜, 亀山 勇一, 福田 知弘
    日本建築学会計画系論文集
    2016年 81 巻 728 号 2317-2326
    発行日: 2016年
    公開日: 2016/10/30
    ジャーナル フリー
     This study was conducted to consider the factors related to change in Noh stage style using <<johakyu go dan>> (johakyu five parts), which was established by Zeami (1363-1443) as “The grammar of Noh.” To this end, we examined the relations between Noh stage (jo zone, ha zone, and kyu zone) and musical accompaniment and dancing by employing three-dimensional computer graphics (3DCG) and statistical methods.
     Research was conducted with emphasis on the relation between the following two points as a method to clarify the factors of change in Noh stage after Zeami’s time. 1) Zeami changed ancient Chinese three-part <johakyu> to the five-part style of <<johakyu go dan>>, incorporated it into Noh scripts with dancing, chanting, and musical accompaniment, and formulated the basic principle: “The grammar of Noh.” 2) Areas for <johakyu> exist on a Noh stage, each of which has a conventional direction method. It is designed to enhance stage effects to a great degree.
     The following findings were obtained:
     1. We tried to extract <johakyu> from data of small hand drums, shouts, and dancing. The results led us to observe the following characteristics of <johakyu>: “The part of jo is light, and the expression is slightly rough, ” “Ha delicately folds ups and down, adds a little relaxation, and keeps a moderate speed, ” and “Kyu is very fast and tense, and the tempo becomes faster.” Furthermore, in the part called “kuse” in which the most characteristic acting is performed in a Noh drama, the characteristics of <<johakyu go dan>> were noticed clearly.
     2. Results of statistical analysis revealed correlation existed between each zone and each area of <johakyu> of Noh stage and dancing and musical accompaniment (small hand drums and shouts) of <<johakyu go dan>>. Therefore, we found that <<johakyu go dan>> might be involved in change in Noh stage style.
     Noh was mainly a Shinto ritual until the Heian period (794-1185). It had been developed and initiated by shrines and temples. After the Kamakura period (1185-1333), public entertainment such as Kanjin (temple solicitation)-Noh performance rose suddenly and reached its prime during the Muromachi period (1336-1573). Coupled with that, shoguns and court nobles came to play the role of Noh supporters instead of shrines and temples. <<Johakyu go dan>> was effective to attract shoguns and nobles with performance as seen in Fushikaden written by Zeami. It is considered that the construction of stage space was necessary to practice <<johakyu go dan>> effectively.
  • 大岸 文夫, 佐藤 勝行
    日本建築学会計画系論文集
    2005年 70 巻 598 号 43-50
    発行日: 2005/12/30
    公開日: 2017/02/11
    ジャーナル フリー
    We made the investigation and the research on the composition of the shrines, the Noh stages and the galleries of existing 51 Noh stages in the southern part of Hyogo Prefecture. The composition of the shrine takes mostly general modern form and are classified in fourteen kinds of 7 types. Most of the passages take passed on the right side of the Noh stage. When it passes on the right side of the stage, they made the temporary Hashigakari (Bridge form passageway) or, the bridge which could be easily taken off. For the fundamental module of the Noh stage they have used the Kyo Ma (1969mm=1 ken) Chukyo Ma (1908mm=1 ken) and Kanto Ma (1818mm=1ken).
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