| Project/Area Number |
20520258
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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 |
Literature in English
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| Research Institution | Kyoto Gakuen University |
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Principal Investigator |
FURUKI Keiko Kyoto Gakuen University, 経済学部, 教授 (80259738)
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| Project Period (FY) |
2008 – 2010
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| Project Status |
Completed (Fiscal Year 2010)
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| Budget Amount *help |
¥2,340,000 (Direct Cost: ¥1,800,000、Indirect Cost: ¥540,000)
Fiscal Year 2010: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
Fiscal Year 2009: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2008: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
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| Keywords | 実験演劇 / 日本演劇の影響 / リアリズムと表現主義 / 芸術家像 / 三島由紀夫 / キャンプ / 劇的装置としての登場人物 / 歌舞伎・能の影響 / ジェンダーとセクシュアリティ / アメリカ帝国主義 / 歌舞伎と能の影響 / アメリカ演劇の60年代 / 劇的装置としての人物 / 歌舞伎と能 / ウィリアムズ劇の60年代 |
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| Research Abstract |
Through the three-year period of my study, I have clarified that Japanese Kabuki and No theatre have considerably influenced the making of Tennessee Williams' plays. In particular, in The Milk Train Doesn't Stop Here Anymore (1963), In the Bar of a Tokyo Hotel (1969), and The Day on Which a Man Dies (2008), Kabuki and No theatricality greatly contribute to the visualization of the characters' internal division. Williams' inclination toward Japanese theatre, in addition, had been brought about through his friendship with Japanese writer and playwright, Yukio Mishima.
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