The Comparative Study of English and American Directing Ways and Japanses Ones of 20th-century Shakespeare Productions

20世纪莎士比亚作品英美与日本导演方式比较研究

• 批准号: 09610477
• 负责人: YODA Yoshimaru
• 金额: $ 1.41万
• 依托单位: KYOTO UNIVERSITY
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 1997
• 资助国家: 日本
• 起止时间: 1997 至 2000
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-09610477/
• 关键词: 20th century; Shakespearean plays; directing ways; Titus Andronicus; Peter Brook

I order to compare the directing ways of the 20th century Shakespeare productions in England and the United States with those in Japan, we have focused in the present study on the directing ways of Titus Andronicus productions as symbolical examples. Concretely we define the dramatist's intention in a series of characteristic scenes describing extreme cruelties and then examine whether it is correctly reflected in the directors' individual productions. As a result we can make it clear that there are two types of the directing ways in England and the United States. In the first type the directors try to forcibly impose their own concepts on the Shakespeare's play and in the second type the director tries to persistently obey the dramatist's intention. We can also clarify that there exists only the latter type in Japan. It goes without saying that the 'realism' directing ways tell that the directors are ignorant of the Shakespearean world in that they follow none other than realism. Howe … More ver, the close study of the 'anti-realism directing ways unexpectedly show that essentially the directors have correct understanding of the Shakespeare's play. It is true that 'anti-realism' directors in England and the United States, with Peter Brook and Gerald Freedman as representatives, add unnecessary elements to the original play, but there is an exact similarity between the presented dramatic effects and those intended by the dramatist. On the contrary, the 'anti-realism' directors in Japan, even when they present the same dramatic effects that the dramatist aims at, generally acquire them by accident. Any way, we have to remember that the very difference between English and American directors and Japanese directors in understanding the Shakespearean world decides the appearance of such directors as Deborah Warner who are faithful to Shakespeare. We cannot help coming to the conclusion that Japanese productions of Shakespear's plays do not have a bright future, judging from the fact that the Warner production suggests the future productions of Shakespeare should take. Less

我为将20世纪莎士比亚在英格兰和美国的莎士比亚制作的导演方式与日本进行了比较，我们一直专注于本研究，以泰特斯·安德罗尼克斯（Titus Andronicus）制作的导演方式作为对称的例子。具体而言，我们在一系列描述了极端的特征场景中定义了戏剧家的意图，然后检查了它是否正确地反映在董事的个人作品中。结果，我们可以清楚地表明，英格兰和美国有两种类型的指导方式。在第一个类型中，董事试图强行强行将自己的概念强加于莎士比亚的戏剧，而在第二类中，导演试图持续遵守戏剧家的意图。我们还可以澄清，日本只有后一种类型。不用说，“现实主义”指导方式告诉董事对莎士比亚世界一无所知，因为他们遵循现实主义。如何……对“反现实主义”指导方式的仔细研究出乎意料地表明，基本上，董事对莎士比亚的戏剧有正确的了解。的确，英格兰和美国的“反现实主义”导演，彼得·布鲁克（Peter Brook）和杰拉尔德·弗里德曼（Gerald Freedman）代表，为原始剧本添加了不必要的要素，但是在提出的戏剧性效果与戏剧家意图的戏剧性效果之间存在确切的相似之处。相反，即使日本的“反现实主义”董事在戏剧家所瞄准的相同的戏剧性效果时，通常是偶然地获得他们的。无论如何，我们都必须记住，英语与美国导演和日本导演之间的差异在理解莎士比亚世界方面决定了忠于莎士比亚的黛博拉·华纳这样的董事的出现。我们不禁得出这样的结论：莎士比亚戏剧的日本作品没有光明的未来，从华纳制作的生产表明莎士比亚的未来作品的事实来看。较少的

项目成果

K.ブルツク『タイタス・アンドロニカス』:

K.布尔茨克“泰特斯·安德洛尼库斯”：