@article{oai:bunkyo.repo.nii.ac.jp:00003732,
 author = {高師, 昭南},
 journal = {文教大学国際学部紀要, Journal of the Faculty of International Studies Bunkyo University},
 month = {1998-01-01, 2011-02-24},
 note = {Theatrical spectators are, according to the aesthetician Nakai Shoichi (中井正一), adventurers expected to recognige something substantial of the world beyond ordinary phenomena. This paper examines an unexplored aspect of Nakai's view that the key to theatrical appreciation is "Seening existence (見る存在). I first define the fundamental nature and essential characteristics of this state. The key to this state is "rhythmic courage." Courage, in the instance, refers to the capacity and willingness to become theatrically engaged. The rhythmic aspect derives from a two-fold process. The spectator's engagement in the instability of the dramatic moment is matched and rhythmically amplified by the actor's. ambivalent use of "drive" and "restraint" during the performance. Furthermore, the deliberate use of this ambivalence by the performer creates a rhythm which I link with the theatrically staged function of Kata (型). The importance of rhythmic courage in the "Seeing existence" state of the theatre spectator concerns the realization that authentic human existence is premised upon instability.},
 pages = {125--134},
 title = {ドラマと「見る存在」},
 volume = {8},
 year = {}
}