近代における演能の場の変容

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タイトル別名
  • Transformation of the performing places of Nohgaku in the modern era (before 1945) - the influence of public halls and Umewaka-ryu (Umewaka school)
  • 近代における演能の場の変容 : 公会堂演能と梅若流の影響について
  • キンダイ ニ オケル エンノウ ノ バ ノ ヘンヨウ : コウカイドウエンノウ ト ウメ ワカリュウ ノ エイキョウ ニ ツイテ
  • ――公会堂演能と梅若流の影響について――

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抄録

<p>Before the mid 20 century, there was a custom of prohibiting Nohgaku actors from performing at other places except the dedicated Nohgaku theaters.</p><p>In July 1921 Umewaka-ryu declared the independence from Kanze-ryu (Kanze school). Umewaka and other Nohgaku schools including Kanze conflicted and they broke off the relationship with each other. Therefore, Umewaka ignored the traditional custom and began to perform in the public halls ahead of the other Nohgaku schools.</p><p>At the same time, the public halls, which were originally born as the meeting place for the people, gradually became more the place of entertainment. Especially after the reconstruction from the Great Kanto Earthquake (1923), its tendency got stronger. Some multipurpose halls which were built in the late 1920s were treated as the substantial theaters. Nohgaku actors considered these halls to be easier to perform Nohgaku under the restriction of performing place.</p><p>From 1930s Umewaka and Kanze had competed to advance the expansion of the scale of performances. They held the performances at large scale halls with the capacity of more than 1000 people. And finally, in 1942 by the performance at the Imperial Theatre and the Korakuen baseball stadium the restriction of the performing place was abolished.</p><p>In this paper, I would like to examine what role Umewaka played in the transformation of the performing places of Nohgaku and also consider the influence of the public halls in the modern era.</p>

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