Research of Kabuki performance in local areas -Tono, Nanshin, and Mikawa areas

远野、南新、三河地区的歌舞伎演出研究

• 批准号: 13610521
• 负责人: YASUDA Noriko
• 金额: $ 1.86万
• 依托单位: Gifu Shotoku Gakuen University
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 2001
• 资助国家: 日本
• 起止时间: 2001 至 2003
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-13610521/
• 关键词: loal plays; kyogen-scripts; Joruri-scripts; choreographer; festival arts; tyu, ko-sibai (middle and small plays); Kabuki; village theater; 義太夫

Okimi of Izumo had her first Kabuki dance in Kyoto 400 years ago. Since then, it has spread in Japan, but it changed into an art from performed by male only performers under the strict control of the Shogun government Oo-sibai (grand plays) were performed in the three urban cities (Edo, Kyoto, Osaka). Except for oo-sibai, performances were conducted in several places with miyati-sibai (the permit of the length of a hundred days). Big castle towns like Nagoya and Kanazawa, and cathedral towns like Ise and Miyajima also enjoyed these one hundred day performances. Even then it was diffcult for people in agricultural and fishing areas to eqjoy Kabuki. They may have been attracted to Kabuki when they saw a rare one or two day performance by a traveling troupe. However, it was a principle that Kabuki had been prohibited in rural and fshing areas, so they enjoyed Kabuki as an entertainment at the festival of the genius loci, or on village holidays. This is the beginning of a village play. The … More people bought up the whole troupe or they perfbrmed by copying professionals. The former is called kai-(buying) or uke-(asking)shibai(play) and the latter is called ji-(local) shibai or ji-kyogen. It might have started in the period of Genroku (1688-1704) and in the middle of the Edo period it spread all over Japan. Some villages had theaters for this purpose, and a special day was set up for performances. Then each had a unique development However, a village performance was a one-time and small-scale in cident with the audiences of small number of villagers, so unlike oo-shibai it does not have enough research material& Each place may have had a unique work or production, but it may not have kept the original form of a play because of vulnerability of plays. Depopulation 'and modernization will accelerate disappearance of materials. it is important to depend on literary documents, so this research tries to see the actual conditions of village play from scripts. Local plays are popular in the Tono, Nanshin and Mikawa areas, and whether scripts of local plays exist or not was checked and studied. The information is now on a database. From this it is clear that local plays in these areas were choreographed by a traveling actor and they were under their guidance. This means that these were strongly influenced by the kamigata (Kyoto and Osaka) tyu, ko-sibai(middle and small plays). Less

Izumo的Okimi 400年前在京都举行了她的第一次Kabuki舞蹈。从那以后，它已经在日本传播，但它变成了仅在幕府将军政府Oo-Sibai（大戏）严格控制下的男性表演者表演的艺术，在三个城市城市（Edo，Osaka，Osaka，Oseaka）进行了表演。除了Oo-Sibai外，还在Miyati-Sibai的几个地方进行了表演（长度为一百天的许可证）。像名古屋和卡纳泽（Kanazawa）这样的大城堡城镇，以及像ISE和Miyajima这样的大教堂城镇也享受了这一百天的表演。即便如此，对于Eqjoy Kabuki来说，这对于农业和捕鱼区的人们来说也很困难。当他们看到一个旅行团的一两天表演时，他们可能被Kabuki吸引了。但是，这是一个原则，即在粗糙和陷入困境的地区禁止Kabuki在Genius Local或Village Holidays的节日中享受Kabuki作为娱乐活动。这是乡村戏剧的开始。 …越来越多的人购买了整个剧团，或者通过复制专业人员而获得了完善。前者被称为kai-（购买）或uke-（询问）shibai（play），后者称为ji-（本地）shibai或ji-kyogen。它可能始于Genroku时期（1688-1704），并在江户时代中期散布在日本。有些村庄为此目的开了剧院，并为表演设立了特殊的一天。但是，每个人都有一个独特的发展，乡村表演是一个曾经是少数村民的观众的公民的一次性和小规模，因此与Oo-Shibai不同，它没有足够的研究材料，每个地方可能都有独特的工作或制作，但是由于剧本的脆弱性，它可能没有保留原始形式。人口减少和现代化将加速材料消失。重要的是要依靠文学文献，因此本研究试图查看脚本中乡村游戏的实际条件。本地戏剧在Tono，Nanshin和Mikawa地区很受欢迎，是否存在并研究了本地戏剧的脚本。该信息现在在数据库上。由此很明显，在这些领域的当地戏剧是由旅行者编排的，他们在他们的指导下。这意味着它们受到Kamigata（Kyoto和Osaka）Tyu，Ko-Sibai（中和小型戏剧）的强烈影响。较少的

项目成果

Noriko Yasuda, Bunkichi Yasuda, Yumi Hayakawa: "Kabuki-scripts of Sinsiro-kabuki had by Takesyo Nakamura"Nagoya geino bunka. 12. 77-87 (2002)

安田纪子、安田文吉、早川由美：“中村武昭所拥有的新西路歌舞伎的歌舞伎剧本”名古屋艺能文化。

Noriko Yasuda, Bunkichi Yasuda, Yumi Hayakawa: "Kabuki-scripts of Sinsiro Usugo-kabuki had by Momozo Ichikawa & The licenses of the kabuki director"Nagoya geino bunka. 11. 44-59 (2001)

安田纪子、安田文吉、早川由美：“市川桃三所拥有的《新西楼薄子歌舞伎》的歌舞伎剧本

安田徳子: "地芝居の演目-美濃・三河地域の場合-"岐阜聖徳学園大学国語国文学. 第23号. 100-111 (2004)

安田纪子：“吉士白表演-美浓和三河地区的案例”岐阜圣德学园大学日本语言文学第23期。100-111（2004年）。

Noriko Yasuda: "The play of Ji-sibai and its directors -for the materials and scripts of the Tono and Mikawa areas-"Gifu Shotoku Gakuen University japanese and its literature. 22. 1-16

安田纪子：“吉西白及其导演的戏剧-远野和三河地区的材料和剧本-”岐阜圣德学园大学日语及其文学。

安田徳子: "地芝居の上演と振付師-三河・美濃の地芝居資料と台本の検討から-"岐阜聖徳学園大学国語国文学. 第22号. 1-16 (2003)

安田纪子：《自芝的表演和编舞——从三河和美浓的当地戏剧材料和剧本的研究》《岐阜圣德学园大学日本语言文学》第22. 1-16期（2003年）。