Language：Japanese   Publisher：明治大学文芸研究会  

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Other Link： http://hdl.handle.net/10291/21407

Language：Japanese   Publisher：Japanese Society for Theatre Research. Comparative Theatre Section  

This paper aims to investigate the body images seen in Bunroku Shishi (Toyo'o Iwata)'s novel, <i>Ghost Story of Youth</i> written in 1954.Shishi was one of the co-founder of the theatre company Bungaku-za (established in 1937), but now little is known about him as a theatre practitioner because of his lack of career as a playwright. Rather, he has been famous as a popular novelist. But, in my view, his novels could be analyzed through his experience of theatre practitioner.Chiaki, one of the protagonist of <i>Ghost Story of Youth</i>, is a ballet dancer. The story focuses on her unstable body. She feels uncomfortable in her female body because she is not sure she is a woman in biological term, which leads to several troubles around her. For example, Shin'ichi, her childhood friend and fiancé, suspects her sexuality and wonders if they could marry. Chiaki herself can not handle her body and her dancing practice. Finally, she is replaced her role as a prima-donna of <i>Swan's Lake</i> by her rival dancer. But through performative affirmation of her sexual identity, she rediscovers her deep love to Shin'ichi and finds herself again as a woman. In this point, this story can be said an earlier statement of performative construction of gender identity, which is now a standard term of feminist theory.Less is known how Shishi acquired this innovative point of view because he did not mention much about his writing. But it might be said that his experience as a theatre practitioner and a theatre theorist reflects on this innovative perspective.For example, Shishi had stayed in Paris for several years in 1920's and went to ballet performance, including Ballet Russes, frequently. He was so fascinated in the ballet world that he once intended to become a ballet critic. His concern moved towards the research of innovative directors, such as Jacques Copeau, but he seemed to continue his research about ballet and left some writing about it after he came back to Japan.Added to that, Shishi's daughter Tomoe's character, which is written in some of his semi-autobiographical novels, might lead to Chiaki in <i>Ghost Story of Youth</i> because she is said to be less female. But it remains no more than speculation.

DOI： 10.7141/ctr.17.1

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Language：Japanese   Publisher：明治書院  

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Language：Japanese   Publisher：AICT日本センター ; 2010-  

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Language：Japanese   Publisher：AICT日本センター ; 2010-  

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Language：Japanese   Publisher：AICT日本センター ; 2010-  

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Language：Japanese   Publisher：Nihonbashi Gakkan University  

In its heydays, Japanese period drama had a long tradition which required one star actor to play two or more roles in one film, which is expected to make him look more attractive for the audience.Iemitsum, Hikoza, and Tasuke Isshin(1961), directed by Tadashi Sawashima, followed the rule. Kin-nosuke Nakamura plays two roles in this film; Iemitsu Tokugawa, the third Shogun and Tasuke Issin, fishmonger. Normally this double role is not noticed in the film and the one who meets both persons are not aware that they resemble each other. But Iemitsu broke the tradition and make use of this double role. Hikozaemon Ohkubo, a vassal and reliable adviser to Iemitsu notices they look like each other and to avoid the intrigue around Iemitsu, he urges Iemitsu and Tasuke to change their places. This breaking of the rule was conceived by Hideo Oguni, the famous scenario writer. But it is also symbolizing the end of happy days of Japanese period drama epoch-making Yojinbo, directed by Akira Kurosawa, was released in the same year. It changed everything old in period drama.

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Language：Japanese   Publisher：Nihonbashi Gakkan University  

Masahiro MAKINO's film,Singing Lovebirds (Oshidori-utagassen,1939) is now appreciated as a forerunner of Musical films in Japan,though it was made during the World War II. It was a sort of chemical-reaction-like experimentalism in Japanese films that made this film,as well as Makino' s musical sense. This film begins with the landscape of Nihonbashi and this scenic device is a symbol of Makino' s partnership with Hideo OGUNI,a scenario writer,though this film was not written byhim.

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Language：Japanese   Publisher：Nihonbashi Gakkan University  

Oh-ban series(1957-8), based on the hit novel by Bunroku Shishi, is now seen as a sort of success story. This series depicted the rise and fall of Ushinosuke Akaba(called Gyu-chan), an operator of the stock market ob Kabuto-cho, Nihonbashi. Although seen as a representative of the economic growth after the World War II, the enthusiasm around Oh-bans was, I believe, stimulated by its anti-modern orientation.

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Language：Japanese   Publisher：明治大学文学部文芸研究会  

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Other Link： http://hdl.handle.net/10291/10813

Language：Japanese   Publisher：Nihonbashi Gakkan University  

MISUMI Kenji(1921-1975) was known as a director of period films with sword fighting, but he was appraised as a director of films featuring female characters. How could Misumi as a depicter of sword fights come to term with so-called "feminine" world? In surveying his less known film,The Homely Sister(1967), based on Yamamoto Shugoro's novel, I am going to clarify how Misumi succeeded in making images of the beauty of women.

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Language：Japanese   Publisher：日本演劇学会分科会西洋比較演劇研究会  

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Language：Japanese   Publisher：Nihonbashi Gakkan University  

Ichikawa Kon's film Bridge of Japan (Nihonbashi ) is now supposed to be of little importance inhis long career. One critic commented that the problem lies in his realistic approach to IzumiKyoka's original novel(1914) and his own dramatic adaptation (1917), while Izumi's baroqueworld is known as a strong refusal to realism. Dram critic, Osasa Yoshio, however, insisted thatthe dramatic version was adjusted to the horizon of expectation of the audience to Shin-pa,which has almost exclusively produced this play for a long time, so that the world of thedramatic version was different from that of the original novel. From this point of view, Ichikawa'sfilm can be seen as a sort of recovering the world of the original novel. Compared to the reviewof Nihonbashi (1929) by Mizoguchi, which strongly relied on the Shin-pa convention but now islost, Ichikawa's should have utilized so-called Shin-pa devices rather than rejected it.

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Language：Japanese   Publisher：Seijo University  

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Language：Japanese   Publisher：明治大学大学院  

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Language：Japanese   Publisher：明治大学大学院演劇学研究会  

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Total pages：284p   Language：Japanese  

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Total pages：75p   Language：Japanese  

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Total pages：v, 634p   Language：Japanese  

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Total pages：700p   Language：Japanese  

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Language：Japanese   Publisher：AICT日本センター ; 2010-  

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Language：Japanese   Publisher：AICT日本センター ; 2010-  

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Language：Japanese   Publisher：日本演劇学会分科会西洋比較演劇研究会  

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Language：Japanese   Publisher：日本演劇学会分科会西洋比較演劇研究会  

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Language：Japanese   Publisher：日本演劇学会分科会西洋比較演劇研究会  

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Language：Japanese   Publisher：日本演劇学会分科会西洋比較演劇研究会  

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Language：Japanese   Publisher：The Japanese Society for Aesthetics  

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Language：Japanese   Publisher：The Japanese Society for Aesthetics  

After the Restoration, productions of Shakespearean plays have changed dramatically due to the shift of theatrical convention. Owing greatly to the newly introduced stage mechanics and devices, the dramas came to be presented on stage as visual performance and there appeared the necessity of visualization of Shakespearean plays, which had been of little concern in Elizabethan age. But throughout the 18th and the 19th centuries, priorities were given to the demands of the production sides, not to the Shakespearean texts themselves. Texts were cut and reduced so that the spectacular device would look beautiful. And also they were adapted arbitrarily so that the leading actor-managers could show off their talent. Until the 20th century, exploration and realization of Shakespearean performance as a visual representation of texts did not occur, except for few. Under such conditions, the production of Hamlet by Moscow Art Theatre (1912) was remarkable, because it was one of the earliest attempt to visualize the Shakespearean text itself. Co-director and designer Gordon Craig thought that, in simplifying the design, the collision of the visual images with the verbal images of Shakespearean text, which was common in the previous period, could be avoided. The production itself is said to be a failure from the artistic point of view because of the limitation of the stage technologies of the age. But credit should be given to this production as the earliest innovative experiment of modernizing the Shakespearean productions.

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Language：Japanese   Publisher：The Japanese Society for Aesthetics  

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Language：Japanese   Publisher：Seikei University  

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Language：Japanese   Publisher：明治大学大学院演劇学研究会  

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Language：Japanese   Publisher：明治大学大学院演劇学研究会  

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Language：Japanese   Publisher：明治大学大学院演劇学研究会  

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Language：Japanese   Publisher：The Japanese Society for Aesthetics  

The function of crowd scenes in theatrical performances was examined through many performances. The theatre today owes a great deal especially to some innovative methods undertaken by the naturalism movement. In the 19th century, performances by Saxe-Meinigen Company in Germany conquered the European theatres, partly because its realistic crowd scenes were appreciated everywhere. Julius Caesar was one of their most popular repertoires because the crowd was presented effectively. At the beginning of this century, Moscow Art Theatre produced Caesar under the strong influence of Meiningen Company. Nemirovic-Dancenko, the director, thought that Meiningen Caesar gave priority to the crowd scenes over the inner emotions of the main characters and that their feelings were sacrificed. He himself focused the citizens of Rome and made them the central figures in the play. As a result, the feelings of the main characters were sacrificed as in the Meiningen performances. It can be said that both Meiningen and Moscow Caesar had a common defect. Royal Shakespeare Company produced Julius Caesar in 1993 and treated the audience as a part of the crowd in the performance. This experiment itself failed, though it showed some possibility of making the crowd scene with the participation of the audience. Credit could be given to this attempt for they acknowledged the importance of the inner feelings of the main characters more than anything. We must not forget that they are the most important elements in the play, but were neglected in the two past productions I have mentioned above. Striking success of the crowd scene in Julius Caesar remains to be challenged by the future directors.

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Language：Japanese   Publisher：The Japanese Society for Aesthetics  

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Language：Japanese   Publisher：明治大学大学院演劇学研究会  

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Language：Japanese   Publisher：明治大学大学院演劇学研究会  

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