| Item type |
紀要論文(ELS) / Departmental Bulletin Paper(1) |
| 公開日 |
2007-03-31 |
| タイトル |
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タイトル |
記憶の観点からの演劇研究(5) : 事例研究(2)-2 : ク・ナウカの『王女メデイア』(一九九九年)ヴィデオ分析 |
| タイトル |
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タイトル |
Theatre Research form the Viewpoint of Memory (5) : Case Study (2)-2 : Ku Na'uka's Princess Medea (1999), A Video Analysis |
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言語 |
en |
| 言語 |
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言語 |
jpn |
| 資源タイプ |
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資源タイプ識別子 |
http://purl.org/coar/resource_type/c_6501 |
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資源タイプ |
departmental bulletin paper |
| ページ属性 |
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内容記述タイプ |
Other |
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内容記述 |
P(論文) |
| 記事種別(日) |
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論説 |
| 記事種別(英) |
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en |
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Article |
| 著者名(日) |
山下, 純照
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| 著者名よみ |
ヤマシタ, ヨシテル
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| 著者名(英) |
YAMASHITA, Yoshiteru
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| 著者所属(日) |
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千葉商科大学商経学部 |
| 著者所属(英) |
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en |
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Chiba University of Commerce |
| 抄録(英) |
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内容記述タイプ |
Other |
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内容記述 |
The video analysis undertaken here gives an interesting, or rather exciting, contrast with the observation by me as a spectator. Although in the theatre I felt a certain contradictory relationship between "words" and "movements", they in the video turned out to be rather closely cooperating and, in this sense, not contradictory but united with each other. This striking difference between my personal experience and the recorded data means that in the video, as a result of the camerawork, the cooperative feature of the relationship between "speakers" and the "movers" has been more "focused on", whereas for me as a spectator, the spatial constellation there --- "male speakers" on the platform-like "sajiki" (stage on the stage) contra "female movers" down on the ground level of the stage ---- prefigured the thematic predominance of men against women. Facing these two different aspects of one and the same production, I will argue that one has to avoid both the essentialist fallacy insisting that a personal experience in the theatre should be the sole "evidence" for theatre research, and the epistemological fallacy maintaining that the recorded data should be more "objective" and so have the last words. Rather, I would like to conclude from these split phenomena the directorial multiplicity : the director helps performers create cooperation (I call this "direction I ") and then transforms it for his thematic concept (I call this "direction II"). If the camera is useful for examining the task of direction I, the live spectator is the very target of the direction II. Then, my final question should be : how is the mechanism of this transformation from direction I to direction II, and what does this transformation mean for us? In the last scene, a plenty of books collapse from a huge stage- set tower, alluding the fall of predominance of the male : a symbolic castration. Simultaneously, the male speakers with their role books are so shocked with this happening as to be "killed" by the female performers without any resistance. If this ending is effective, there must be an unconscious identification between two heterogeneous signs of books : one as the symbol for phallic ideology (the book tower), the other as the symbol for the tragedy itself (the role books). A further interpretation is needed. |
| 雑誌書誌ID |
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収録物識別子タイプ |
NCID |
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収録物識別子 |
AN00142578 |
| 書誌情報 |
千葉商大紀要
巻 44,
号 4,
p. 1-33,
発行日 2007-03-31
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KJ00004684449.pdf (2.9 MB)
