世阿弥以降の能舞台様式の変化と『序破急五段』の関係性の研究

DOI Web Site Web Site 参考文献3件
  • 松永 直美
    ㈱レモン画翠　代表
  • 矢吹 信喜
    大阪大学大学院工学研究科環境・エネルギー工学専攻　教授・Ph.D.
  • 亀山 勇一
    レオン・スタジオ㈱　代表・学士（美術・建築）
  • 福田 知弘
    大阪大学大学院工学研究科環境・エネルギー工学専攻　准教授・博士（工学）

書誌事項

タイトル別名
  • RELATION BETWEEN TRANSITIONS IN THE NOH STAGE STYLE AFTER ZEAMI AND “JOHAKYU FIVE PARTS”
  • ゼアミ イコウ ノ ノウ ブタイ ヨウシキ ノ ヘンカ ト 『 ジョハキュウ ゴダン 』 ノ カンケイセイ ノ ケンキュウ
  • RELATION BETWEEN TRANSITIONS IN THE NOH STAGE STYLE AFTER ZEAMI AND “JOHAKYU FIVE PARTS”

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 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.<br> 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.<br> The following findings were obtained:<br> 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.<br> 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.<br> 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.

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