| Project/Area Number |
14510063
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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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 | Osaka University |
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Principal Investigator |
NAGATA Yasushi Osaka University, Graduate School of Letters, Professor, 文学研究科, 教授 (80269969)
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| Project Period (FY) |
2002 – 2004
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| Project Status |
Completed (Fiscal Year 2004)
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| Budget Amount *help |
¥3,600,000 (Direct Cost: ¥3,600,000)
Fiscal Year 2004: ¥700,000 (Direct Cost: ¥700,000)
Fiscal Year 2003: ¥1,400,000 (Direct Cost: ¥1,400,000)
Fiscal Year 2002: ¥1,500,000 (Direct Cost: ¥1,500,000)
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| Keywords | Theater History / 20^<th> Century Theater / Modern Theater / Russian and Soviet Theater History / Historiography / 近代 |
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| Research Abstract |
Through the research of historiography of Russian Theatre History, the project explored some important points on it. At first the project made clear the features of Russian historiography. It had focused on the middle of 18^<th> century theatre activities because of its artistic achievements. Of course it has recognized early Russian activities but it had started historical evaluation of artistic and aesthetic level in the 19^<th> Century. It meant Historiography in general had included aesthetic view points, because of it some new perspectives of history had explored in the first decade of 20^<th> century.
And then Russian historiography had new approaches to describe the theatre history. The Russian History by Vsevorodsky-Gerngross is unique one. Gerngross tried to describe the history from not artistic paradigm but ordinary human life. Gerngross recognized theatre history as not only art activity but a part of an ordinary daily life. Borrowing the idea of theatrical instinct by Nikolai Evreinov, Gerngross developed a vast perspective. Gerngross attempted understand theatre from the court banquet to daily child play. The history had predicted the "Performance theory" today.
Russian theatre history well indicated the conceptions of National Theatre Historiography. In particular Soviet theatre historiography showed how national conception described the theatre history. But it must paint out here that the theatre scholars in the Soviet era depended on the traditional historiography of Russian theatre historiography rather than soviet nationalist ideologies. And it is important to explore how functions the memory in theatre historiography as well. There historiography would make linkages to memory it would find new dimensions on theatre historiography.
Anyway a national theatre historiography has to be reconsidered under contemporary concepts of historiography. Because racial model or gender model forced to rewrite the history as well as intercultural model.
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