| Project/Area Number |
01450006
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| Research Category |
Grant-in-Aid for General Scientific Research (B)
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| Allocation Type | Single-year Grants |
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| Research Field |
美学(含芸術諸学)
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| Research Institution | The University of Tokyo |
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Principal Investigator |
WATANABE Moriaki The University of Tokyo, College of Arts and Sciences, Professor, 教養学部, 教授 (60012332)
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| Co-Investigator(Kenkyū-buntansha) |
KOBAYASHI Yasuo The University of Tokyo, College of Arts and Sciences, Associate Professor, 教養学部, 助教授 (60153623)
SUGIHASHI Yoichi The University of Tokyo, College of Arts and Sciences, Associate Professor, 教養学部, 助教授 (50015278)
HASUMI Shigehiko The University of Tokyo, College of Arts and Sciences, Professor, 教養学部, 教授 (30012454)
TAKATUJI Tomoyoshi The University of Tokyo, College of Arts and Sciences, Professor, 教養学部, 教授 (80012467)
TAKAHASHI Yasunari The University of Tokyo, College of Arts and Sciences, Professor, 教養学部, 教授 (20012297)
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| Project Period (FY) |
1989 – 1990
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| Project Status |
Completed (Fiscal Year 1990)
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| Budget Amount *help |
¥3,700,000 (Direct Cost: ¥3,700,000)
Fiscal Year 1990: ¥900,000 (Direct Cost: ¥900,000)
Fiscal Year 1989: ¥2,800,000 (Direct Cost: ¥2,800,000)
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| Keywords | Theatricality / Avantーgarde art / Representation / Acceptance of art / Performance / Image / Structure of drama / Mass media / 前衛芸術 |
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| Research Abstract |
One of the purposes of our research was to examine the notion of <theatricality> and construct a theoretical model which would enable us to understand synthetically the representation in the 20th century's art. We may quite well say that the purpose was fully realized by defining the space of 'Meta-the atre' and forming a model of the receptive space comprising the audience or the receptors especially in the genre of play. Above all, what seemed to be of a great significance is that these activities of theorization were incidentally fed back to practical analyses in the concrete plays and reーexamined 'on the spot' of art creation. Picture materials were also recorded on videotape and images were carefully studied in the course of practical analyses, and at the same time we got to know that the use of new technology brought about a wider possibility of original ways of analysis.
And besides, we didn't confine ourselves to the field of play but applied the knowledge acquired through those theoretical activities to various spheres of art, such as music, film, video art, fine art and performance, in order to show clearly the theatrical essence of the 20th century's art. In fact, we managed to pick out the general, epistemological and practical framework that every kind of art has in common, demonstrating the particularities of each genre. As a result, a problematic sphere of <theatricality> of language, closely related with the theoretical model we formed, has newly surfaced and provided us with the key to further development of our research.
Therefore, we can surely say that our research on the <theatricality> achieved indicating a great possibility of comprehensive and correlative study of art from the viewpoint of culture as representation.
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