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The emergence of "ignorant" spectators : Bunraku theater and its spectatorship after the opening of the Yotsubashi-Bunrakuza
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- Ebine Takeshi
- 大阪市立大学
Bibliographic Information
- Other Title
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- 「無知な観客」の誕生 : 四ツ橋文楽座開場後の人形浄瑠璃とその観客
- ムチナ カンキャク ノ タンジョウ ヨツバシ ブンラクザ カイジョウゴ ノ ニンギョウ ジョウルリ ト ソノ カンキャク
- 「無知な観客」の誕生 : 四ツ橋文学座開場後の人形浄瑠璃とその観客
- 「 ムチ ナ カンキャク 」 ノ タンジョウ : ヨッツバシ ブンガクザカイジョウ ゴ ノ ニンギョウ ジョウルリ ト ソノ カンキャク
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Description
This paper examines the changes in the situation surrounding the Bunraku theater following the opening of the Yotsubashi-Bunrakuza in January 1930; it brought a new type of spectator to the newly built, modern-style auditorium. In this paper, we define this new type of audiences as "doubly ignorant" spectators and analyze how they experienced the performance of the Bunraku theater from three points of view. First, we analyze the cover design and greetings of the playbill of the Yotsubashi-Bunrakuza to determine how the operator of the show (Shochiku) understood new spectators and tried to contextualize their theatrical experience. Second, we focus on the characteristics of the modern auditorium of the Yotsubashi-Bunrakuza which predetermined the conditions for potential theatrical experiences of new spectators. Third, we examine the observations of one contemporary critic of ignorant spectators' attitudes toward the performances and discuss the characteristic seriousness of the ignorant spectators. Finally, this paper points out that among these new ignorant spectators emerged the modern attitude toward the Bunraku theater, one that considers this kind of traditional theater as "classical art."
Journal
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- 人文研究
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人文研究 73 32-13, 2022-03-31
大阪市立大学大学院文学研究科