| Budget Amount *help |
¥2,900,000 (Direct Cost: ¥2,900,000)
Fiscal Year 2003: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2002: ¥600,000 (Direct Cost: ¥600,000)
Fiscal Year 2001: ¥1,800,000 (Direct Cost: ¥1,800,000)
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| Research Abstract |
Okimi of Izumo had her first Kabuki dance in Kyoto 400 years ago. Since then, it has spread in Japan, but it changed into an art from performed by male only performers under the strict control of the Shogun government Oo-sibai (grand plays) were performed in the three urban cities (Edo, Kyoto, Osaka). Except for oo-sibai, performances were conducted in several places with miyati-sibai (the permit of the length of a hundred days). Big castle towns like Nagoya and Kanazawa, and cathedral towns like Ise and Miyajima also enjoyed these one hundred day performances. Even then it was diffcult for people in agricultural and fishing areas to eqjoy Kabuki. They may have been attracted to Kabuki when they saw a rare one or two day performance by a traveling troupe. However, it was a principle that Kabuki had been prohibited in rural and fshing areas, so they enjoyed Kabuki as an entertainment at the festival of the genius loci, or on village holidays. This is the beginning of a village play. The
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people bought up the whole troupe or they perfbrmed by copying professionals. The former is called kai-(buying) or uke-(asking)shibai(play) and the latter is called ji-(local) shibai or ji-kyogen. It might have started in the period of Genroku (1688-1704) and in the middle of the Edo period it spread all over Japan. Some villages had theaters for this purpose, and a special day was set up for performances. Then each had a unique development However, a village performance was a one-time and small-scale in cident with the audiences of small number of villagers, so unlike oo-shibai it does not have enough research material& Each place may have had a unique work or production, but it may not have kept the original form of a play because of vulnerability of plays. Depopulation 'and modernization will accelerate disappearance of materials. it is important to depend on literary documents, so this research tries to see the actual conditions of village play from scripts. Local plays are popular in the Tono, Nanshin and Mikawa areas, and whether scripts of local plays exist or not was checked and studied. The information is now on a database. From this it is clear that local plays in these areas were choreographed by a traveling actor and they were under their guidance. This means that these were strongly influenced by the kamigata (Kyoto and Osaka) tyu, ko-sibai(middle and small plays). Less
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