舞踊の認知構造について : 世阿弥能芸論の舞踊意味論的分析の試み

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タイトル別名
  • A Pilot Study of Zeami's Theory of Noh : Towards a Semantics of Dance
  • ブヨウ ノ ニンチ コウゾウ ニ ツイテ ゼアミノウ ゲイロン ノ ブヨウ イ

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The aim of this study is to analyze the features of the theory of Noh proposed by its founder, Zeami, from the view point of the semantics of dance. The semantics of dance which is rather a working hypothesis at present, is designed to move toward the construction of general theory of dance. First of all, Zeami's view of the succession and development of the art of Noh is discussed. Zeami claims that the fundamental conditions for the succession and development of the Noh are to continue hard exercises, to master the techniques of performing, and to compose Noh play. Zeami sets nine stages of practice for Noh. Secondly, The Nikyoku-Santai-ron, which is the discipline of exercises or practice of Noh, compared with Laban's theory of "Effort". It is suggested in this study that these two disciplines have some similarities. Thirdly, by using the results in the field of semiotics and psychology, the Mokuzen-Shingo-setsu, which is the performer's preparation for the performance of Noh, is discussed. Mead's theory of "self" is applied to the analysis of this theory. Zeami's disciplines of Gaken, Riken, and Riken-no-Ken, which are stated in the same line of the Mokuzen-Shingo-setsu, seem to be in correlation to the "I", "me", and "self" in the Mead's theory. Zeami argues the importance of the spectator or decoder in the process of performing Noh, by which his theory of Noh is charactrized. By using the above results, the working hypothesis concerning the process of performing dance is revised and enlarged.

収録刊行物

  • 体育学研究

    体育学研究 23 (1), 1-12, 1978

    一般社団法人 日本体育・スポーツ・健康学会

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