WEKO3
インデックスリンク
アイテム
演劇と行動のリズム
https://bunkyo.repo.nii.ac.jp/records/3772
https://bunkyo.repo.nii.ac.jp/records/3772367381ad-1618-45f9-9fe6-6b2c3790c5b3
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
BKSK050006.pdf (1.2 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||
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| 公開日 | 2011-02-24 | |||||||
| タイトル | ||||||||
| タイトル | 演劇と行動のリズム | |||||||
| タイトル | ||||||||
| タイトル | The Rhythm of Action in theatrical Staging | |||||||
| 言語 | ||||||||
| 言語 | jpn | |||||||
| 資源タイプ | ||||||||
| 資源タイプ | departmental bulletin paper | |||||||
| タイトル カナ | ||||||||
| その他のタイトル | エンゲキ ト コウドウ ノ リズム | |||||||
| 著者 |
高師, 昭南
× 高師, 昭南
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| 著者 | ||||||||
| 値 | Takashi, Akinami | |||||||
| 所属機関 | ||||||||
| 値 | 文教大学国際学部 | |||||||
| 内容記述 | ||||||||
| 内容記述タイプ | Abstract | |||||||
| 内容記述 | Hitherto,the unity and order of theatrical staging has been said to be realized by the hierarchy of theatrical elements. Those who doubted this explanation could not provide an alternative explanation. In place of the above doctrine, I put forward a new theory concerning the unity and order of the staging, which understands that the reciprocal cooperation of the theatrical elements, arranged toward realizing the rhythm of action, maintains the dynamic order on the stage during the performance. The theatrical experience consists of its aesthetic emotion, an ek-stasis that has an audience transform into both the spectator and the performer. The rhythm of action enables the audience to realize this transformation, through its "引き込み" hikikomisayo, entrainment' or its power to release one from egocentricity. The concept of dynamic cooperation can explain this transformation, because it is a process of realizing the ryhthm of the performance, while the hierarchy doctrine is a more superficial one derived from the judgement of appearance, which contradicts the real state of theatrical activity and has no ability to explain the significance of the theatrical experience. What, then, is the rhythm of action?「演技する精神 ENGI SURU SEISHIN」by 山崎正和 YAMAZAKI MASAKAZU studies this theme in detail, but it does not explain the mechanism. The system of a 'limit cycle' meets the conditions described by the author as the rhythm of action. What is the ryhthm of action as a system? The mechanism of a wave enabling a surfbord-riding demonstrates that system. The unstable state of an upheaved wave with its too high potential energy, involving the current returning from the shore, finally gets unbalanced and falls forward, making a feed-back loop. This system of a feed-back loop driving a surfer or an audience forward but detaining the climax corresponds to the structure of ek-stasis. Through what kind of concrete forms or phases is the thythm of action realized? Analyzing the staging of 『OEDIPUS THE KING』by NATIONAL THEATRE OF GREECE, 1974, which is discussed in the last section, aims to answer the above question. |
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| 書誌情報 |
文教大学国際学部紀要 en : Journal of the Faculty of International Studies Bunkyo University 巻 5, p. 63-75, 発行日 1995-01-01 |
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| 出版者 | ||||||||
| 出版者 | 文教大学 | |||||||
| ISSN | ||||||||
| 収録物識別子タイプ | ISSN | |||||||
| 収録物識別子 | 09173072 | |||||||
| 著者版フラグ | ||||||||
| 出版タイプ | VoR | |||||||
| 本文言語 | ||||||||
| 値 | 日本語 | |||||||
| ID | ||||||||
| 値 | BKSK050006 | |||||||
| 作成日 | ||||||||
| 日付 | 2011-02-23 | |||||||
