| Project/Area Number |
26770105
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| Research Category |
Grant-in-Aid for Young Scientists (B)
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| Allocation Type | Multi-year Fund |
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| Research Field |
Literature in English
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| Research Institution | Senshu University |
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Principal Investigator |
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| Research Collaborator |
Baugh Edward University of the West Indies, 英文学科, Professor Emeritus
Yachita Mio 東京藝術大学, 国際芸術創造研究科, 助教
Takeda Yasutaka 国際交流基金アジアセンター
Kasai Amane 東京藝術大学, 国際芸術創造研究科, 講師 (00584161)
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| Project Period (FY) |
2014-04-01 – 2018-03-31
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| Project Status |
Completed (Fiscal Year 2017)
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| Budget Amount *help |
¥1,560,000 (Direct Cost: ¥1,200,000、Indirect Cost: ¥360,000)
Fiscal Year 2016: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2015: ¥260,000 (Direct Cost: ¥200,000、Indirect Cost: ¥60,000)
Fiscal Year 2014: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
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| Keywords | 演劇 / 劇場 / ポストコロニアリズム / ナショナリズム / 国立劇場 / 文化政策 |
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| Outline of Final Research Achievements |
National theatres first appeared in 18th century Europe has spread to many countries in the Caribbean region and Asia even after the Second World War, despite less mobilisation compared to other media such as television or radio. The genre of theatre and drama uniquely earns a sense of unity and cooperation among artists and the audience: therefore, the national theatres succeeded in playing not only political roles that bilaterally link to domestic nationalism but cultural roles that attempt to establish own national identity and then appeal it in the international context. Especially the case studies of Anglophone Caribbean countries and Asian ones, including Japan, South Korea and Malaysia, respectively revealed that the system of national theatre as well as national theatres themselves could amplify both good and bad sides of nationalism, in brief, solidarity and exclusivism.
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