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- 井上 優
- 明治大学
書誌事項
- タイトル別名
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- Shakespeare in Toyo-o Iwata: In Regard to the Context of <i>Hamlet</i> directed by Tsuneari Fukuda (1955)
抄録
This paper aims to reassess the context of the Bungaku-za production of Hamlet directed by Tsuneari Fukuda (1955). This production is known for its huge box-office success and seen as one that shows the new possibilities to present Shakespeare plays on the post-war Japanese stages. Fukuda, influenced by the same play directed by Michael Benthall which he saw during his stay in London in 1953-4, introduced new acting style, i.e., speaking lines with high speed and no pause, without psychological depict. It is well-known that this production was realized with the Toyo-o Iwata, one of the members of the Directorial Board of the Bungaku-za. Iwata himself had stayed in Paris twice before the WW II and was known as a theorist and translator of French Theatre and plays. Of course, he was completely unfamiliar to Shakespeare and Shakespearean production. The Bungaku-za had never produced any Shakespeare plays under Iwata’s directorship. The question arise naturally why Iwata supported Fukuda’s Hamlet. There are two possible answers to it; 1) Iwata’s reevaluation of Shakespeare during his stay in London in 1953. 2) His reluctance to agree with naturalist tendencies of modern dramas. In Iwata’s view, Shakespeare’s plays could be a breakthrough to the dead-end situation of modern dramas in general. Fukuda’s Hamlet might be said to be a product of chance, i.e. that of accidental coincidence of Fukuda’s ideal and Iwata’s view of the modern theatre.
収録刊行物
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- 西洋比較演劇研究
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西洋比較演劇研究 19 (1), 23-37, 2020
西洋比較演劇研究会
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詳細情報 詳細情報について
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- CRID
- 1390002184890505472
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- NII論文ID
- 130007825948
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- ISSN
- 21865094
- 13472720
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- 本文言語コード
- ja
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- データソース種別
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- JaLC
- Crossref
- CiNii Articles
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- 抄録ライセンスフラグ
- 使用不可