| Project/Area Number |
04451009
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| Research Category |
Grant-in-Aid for General Scientific Research (B)
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| Allocation Type | Single-year Grants |
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| Research Field |
美学(含芸術諸学)
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| Research Institution | The University of Tokyo |
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Principal Investigator |
TAKATSUJI Tomoyoshi The University of Tokyo, College of Arts and Sciences, Professor, 教養学部, 教授 (80012467)
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| Co-Investigator(Kenkyū-buntansha) |
IWASA Tetsuo The University of Tokyo, College of Arts and Sciences, Professor, 教養学部, 教授 (50203360)
KOBAYASHI Yasuo The University of Tokyo, College of Arts and Sciences, Professor, 教養学部, 教授 (60153623)
SUGIHASHI Yoichi The University of Tokyo, College of Arts and Sciences, Professor, 教養学部, 教授 (50015278)
HASUMI Shiguehiko The University of Tokyo, College of Arts and Sciences, Professor, 教養学部, 教授 (30012454)
MORIYASU Tatsuya The University of Tokyo, College of Arts and Sciences, Professor, 教養学部, 教授 (90012442)
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| Project Period (FY) |
1992 – 1993
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| Keywords | Music theater / Representation / Electronic Media / Performance / Reception of Art / Theatricality / Body expression / Mass media |
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| Research Abstract |
Our research aimed at studying comprehensively the diversity of the theatrical space which can be considered to be the most fundamental framework of the modern cultural representations, through analysing and clarifying synthetically the correlationships of music, language and body in the 19th and 20th century's Western art.
For this purpose, we first searched an archetype of the theatrical space in the "Music theater", formularized its structure and dynamics and managed to form its basic model.
Starting from this basic model, we performed steadily the analyzes of the mutiplex codes of music, language, body expressions and stage settings in the typical works of performing arts such as opera and ballet, as well as in the field of the pan-theatrical representations such as subcultural performances and riligious ceremonies.
At the same time, these activities of theorisation were incidentally fed back to practical analyzes in the concrete performances and re-examined "on the spot" of art creation. The fact that two plays (Musset "Lorenzaccio", Heiner Muller "Quarttet") were directed by one of our research members deserves special mention. Furthermore, high technological experiments conducted by the full use of audiovisual aids and computers led to staging "Hyper-multimedia Performance" as a fruitful result.
Our research thus showed a new phase of the genre of "Music theater" and provided us with the key to further development of this genre. Therefore, we can surely say that our research achieved indicating a great possibility of comprehensive study of art from the viewpoint of culture as representation.
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