『助六由縁江戸櫻』 : テキストと上演

DOI Web Site

書誌事項

タイトル別名
  • Sukeroku Yukari no Edo Zakura : Its logos and mimesis

この論文をさがす

抄録

In Kabuki, we find a curious contradiction between the high esteem for representation by means of traditional dramaturgy with inherited stylized acting and the lower regard for the play texts themselves. The texts have suffered considerably from free alteration, abbreviation and adaptation by later revisers. When considering the gradual evolution of the Sukeroku plays, it becomes evident that Kabuki texts have been regarded as changeable scripts rather than established literary works. The fluidity of a text was proof of a play's dramatic vitality, so that the text was accepted as something expendable rather than a fixed literary work. Unlike the case of Shakespeare's plays, there has been little hesitation to meddle with words or tamper with the plots. As well as the innate nature of Kabuki, the current production system is largely responsible for the use of abridged or adapted texts, since an abbreviated script is much preferred to the lengthy original play. As a result, only one or two scenes of the whole play may be performed. The present script of Sukeroku Yukon no Edo Zakura is an abridged version based on the script of the 1915 production at the Kabuki-za. The abridged version of the relationship between Edo commoners and the Soga family, and the mixture of the aragoto and wagoto artistic styles lacks much of the vivid picture portrayed in the original. The quintessential appeal of Kabuki lies in the superb combination of the refined physical appeal of the actors and the dynamic dramaturgy of the play texts. Just as Shakespeare's language has been reevaluated, so is it time for us to appreciate the significance of the play scripts of Kabuki, as well as the physical tradition of acting.

収録刊行物

  • 英米文化

    英米文化 32 (0), 5-13, 2002

    英米文化学会

詳細情報 詳細情報について

問題の指摘

ページトップへ