| Project/Area Number |
14310028
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| Research Category |
Grant-in-Aid for Scientific Research (B)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
美学(含芸術諸学)
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| Research Institution | Kyoto University of Art and Design |
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Principal Investigator |
OTA Shogo Kyoto University of Art and Design, Faculty of Art, Professor, 芸術学部, 教授 (30268461)
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| Co-Investigator(Kenkyū-buntansha) |
HAGA Toru Kyoto University of Art and Design, Faculty of Art, Professor, 芸術学部, 教授 (10012303)
ITO Takashi Kyoto University of Art and Design, Faculty of Art, Professor, 芸術学部, 教授 (90411305)
YASUMI Akihito Kyoto University of Art and Design, Faculty of Art, Professor, 芸術学部, 教授 (10340530)
MORIYAMA Naoto Kyoto University of Art and Design, Faculty of Art, Associate Professor, 系術学部, 助教授 (20343668)
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| Project Period (FY) |
2002 – 2005
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| Project Status |
Completed (Fiscal Year 2005)
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| Budget Amount *help |
¥13,700,000 (Direct Cost: ¥13,700,000)
Fiscal Year 2005: ¥2,700,000 (Direct Cost: ¥2,700,000)
Fiscal Year 2004: ¥2,700,000 (Direct Cost: ¥2,700,000)
Fiscal Year 2003: ¥4,000,000 (Direct Cost: ¥4,000,000)
Fiscal Year 2002: ¥4,300,000 (Direct Cost: ¥4,300,000)
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| Keywords | Performing Arts / Theatre / Dance / Digital Archive / Art history / 記憶 |
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| Research Abstract |
1. Organizing the productive results of theoretical approach, we published Performing Arts vol.9 (2005) as a special issue for ‘documentarism.' The book is actually pioneering in the field of theatre and performance studies in that it consists of essays written by current representative artists and researchers from different aspects. It gives basic framework to investigate the essential relationship between 'recording live-ness' and 'recollecting live-ness' along with newest examples.
2. As a practical approach to this research topic, we have shot more than 30 performances staged in Kyoto Performing Arts Center (the theatres in our university) in cooperation with a visual artist Takashi Kimura. Having explored the- possibilities of 'recording live-ness,' we made critical editions of those visual records. Through this attempt, it has become clear that 'recording live-ness' has much broader possibilities than TV today expects. To illustrate this point, we made two versions of the visual record of Buto performance (Tamazare by Dairakudakan, 2003) ; one is based on the similar way as TV, while the other on the different way from it.
3. 'Recording live-ness,' such as on discourses, paintings, photographs, films, videotapes etc., has an inevitable contradiction because theatrical live-ness essentially appeals to audience's memories and recollections. Without any records, however, we cannot share the knowledge of theatre history. Through the continuous investigation on the Japanese Yakusha-e (pre-modern Ukiyo-e on Kabuki actors), it has become clear that the painters played an important role in making records a cultural heritage of past live performance.
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