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世阿弥の能芸論における舞について (1) : 「風姿花伝」の場合
https://chukyo-u.repo.nii.ac.jp/records/9589
https://chukyo-u.repo.nii.ac.jp/records/95891e10ad8e-5932-4190-a6de-472ec46caf76
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KJ00004197667.pdf (1.9 MB)
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| Item type | [ELS]紀要論文 / Departmental Bulletin Paper_02(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-11-14 | |||||
| タイトル | ||||||
| タイトル | 世阿弥の能芸論における舞について (1) : 「風姿花伝」の場合 | |||||
| タイトル | ||||||
| タイトル | A Study on Zeami's Theory of Dance as an Art in Noh (1) : From his Manuscript "Fushikaden" | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| 雑誌書誌ID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN00081735 | |||||
| 著者 |
木村, 吉次
× 木村, 吉次× 高橋, 春子× KIMURA, Kichiji× TAKAHASHI, Haruko |
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| 著者所属(日) | ||||||
| 中京大学 | ||||||
| 著者所属(日) | ||||||
| 中京大学 | ||||||
| 記事種別(日) | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 原著論文 | |||||
| 記事種別(英) | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | Original Article | |||||
| 抄録(英) | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | Motokiyo Zeami is famous for his contribution, with his father Kanami, to bringing Noh to completion in the Muromachi Period (1338-1573). He was a performer, scriptwriter, composer, director and the leader of his own Noh group (Kanzeza). He wrote many scripts for Noh plays and even left many manuscripts on the theory of Noh performance to pass on the secrects of the art to his descendents. The purpose of this study is to investigate Zeami's thoery of dance as an art in Noh in his manuscript 'Fushikaden' (written in 1400 and added to later). The description concerning dance in 'Fushikaden' is analysed. The results of this study may be summarized as follows : 1) Zeami's theory of dance was based on the idea that the beauty of body (figure) is innate but bound to be lost. He thought that although the 'kurai'(lofty tone ) of performance is also inborne, it sometimes emerges after elaborating the performance through training. 2) His realism required that the nature of the subject be represented ; moreover, this must be done with the consciousness of beauty. Also, a realistic performance should include the recognition of the performer as to what Noh is. The technical knowledge of performance, which was acquired through training, should be governed by the recognition of the nature of Noh. 3) He stressed that dance as an art in Noh depends on the words to the music ; that is, literature. Therefore, the words should be beautiful ones. He wrote that a performance in which movements harmonize with music is achieved when a performer finally masters the art of Noh. 4) He pointed out that goodness could be found in the natural and unconscious performances of children. Therefore, they should not be indoctrinated in those days. 5) He wrote that whether dance performance is adaptive or not depends on the kind of the role. 6) He insisted that a performer whose skill is limited but attractive has a greater opportunity to gain a reputation than one whose skill is deep but unattractive. 7) He thought that the adverse process in which a scriptwriter should calculates movements and then selects words is also required, though the movements, in fact, flow from the words. 8) He emphasized that since the dance performance skills taught are only fixed forms, the actual performance should be creative. | |||||
| 書誌情報 |
中京大学体育学論叢 en : Research journal of physical education Chukyo University 巻 41, 号 2, p. 39-58, 発行日 2000-03-31 |
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| 表示順 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 9 | |||||
| アクセション番号 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | KJ00004197667 | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 02887339 | |||||
