| Budget Amount *help |
¥2,710,000 (Direct Cost: ¥2,500,000、Indirect Cost: ¥210,000)
Fiscal Year 2007: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Fiscal Year 2006: ¥700,000 (Direct Cost: ¥700,000)
Fiscal Year 2005: ¥1,100,000 (Direct Cost: ¥1,100,000)
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| Research Abstract |
In this research, I have (1) examined the history contemporary performances of the Greek Tragedy, both in Western countries and in Japan, and then (2) scrutinized two especially important performances, one in Japan and one in USA. The first is that of Tokyo University Greek Tragedy Study Club (hereafter TUGTSC),which has performed several tragedies from 1957 to 1972. The second is Richard Schechner's Dionysus in 69. (Di69) I have, with the help of printed and audiovisual materials, tried to explicate the contemporary significance of these performances.
As for TUGTSC, I have shown that their performances, although based on the philological studies and claiming "the reconstruction of the ancient style," did not fall into antiquarian archaism but aimed at the reconstruction for the modern audience. However the separation of proscenion from the orchestra which they have adopted did not function well in their performances.
This research also shows that Di69 was dominated by the postdramatic consciousness. They wanted to realize ritual of a kind in Di69. Greek tragedy, the first theatre grown out of the ritual was suitable for their purpose. However Di69 did not achieve it through some kind of stylization of the acting as seen in Suzuki and others but through questioning the static relationship between actor, character and the audience is problematized.
The full-text version of this research is downloadable from http://www.page.sannet.ne.jp/kitanom/index.html
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