@article{oai:bunkyo.repo.nii.ac.jp:00003884,
 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 = {1993-01-01, 2012-01-18},
 note = {To understand the essential structure of the staging process of the performing arts from the viewpoint of the rhythm of "limit cycle" to produce the living state of the organism, is a new but fruitful type of study. "Limit cycle" is the function-structure in which an unstable state with high potential energy is continuously and dynamically reversed into a stable state, introducing outer energy through some slit. We can infer its principle of the function-structure from the ‘鹿威し shishiodoshi’ or convection phenomenon, and its dynamics as the visible movements from waves in the sea.
　How are the dynamics experienced? Let's analyze the experience of a wave as a model. When we see the wave, we feel an invisible center and a sensuous boundary in the movement. When we live in the field, we feel the cosmos restraining our freedom, but the movable boundary of these cosmos as the object of our challenge will give us ek-stasis like a kind of surf-riding, I think.
　What in the performing arts corresponds to these dynamics? Reversal form of central-marginal in every movement entraining opposites into one. We can distinguish two types of reversal form, one vertical, the other horizontal. The former is a potential one which appears as scenography, like darkness, silence and a symbolically closed situation with some slit, the latter actually being realized through action. The important thing is that both are superimposed to produce the `real', involving the anticipation and sympathy of the audience. This paper is devoted to demonstrating the above more concretely by discussing some stagings in the performing arts.},
 pages = {113--125},
 title = {演出のかたちとしての反転性},
 volume = {3},
 year = {}
}