|Budget Amount *help
¥1,300,000 (Direct Cost : ¥1,300,000)
Fiscal Year 1992 : ¥300,000 (Direct Cost : ¥300,000)
Fiscal Year 1991 : ¥1,000,000 (Direct Cost : ¥1,000,000)
This year (1992), following the last year's research, I have investigated the period of Ogai Mori's stay in Germany (1884-1888) during which he began to take interest in the theater. His acceptance of European literature and ideas is reflected in the vigorous enlightenment activities he engaged himself in after his return to Japan. Therefore, it is of grave significance to investigate the period of his stay in Germany. In his Diary in Germany, his frequent visit to the theater in the intervals of pressing study is mentioned. Of all the translations by Ogai, dramas by Goethe, Lessing and Ibsen prevail ; so it is highly probable that the experience of going to the theater contributed a great deal to his later literary activity. Thus, by introducing the point of view of the theater as a clue to linking the period of Ogai's stay in Germany with his later literary activity, I have clarified the significance to him of his own translations. Specifically, following points have been investigate
(1) By making a list of his theatregoing in Germany through his diaries and letters, I have collected the basic materials with which to investigate the situation of the theater in Germany of those days.
(2) Of all the plays translated by Ogai, the plays that were actually put on the stage have been listed.
(3) I have collected and examined the programs and stage reviews of the plays that Ogai actually saw in Germany.
(4) I have collected and examined not only the plays performed in Germany, but the references in books and magazines to the direction of actors and actresses, with which to grasp the situation of the theater in Germany of those days.
(5) By examining the newspapers, magazines and books, I have studied the history of drama criticism. As to Ibsen, especially, I have examined the response of the viewers of his plays at the time of their first stages. In carrying out the investigation, I have tried to grasp positively the place of Ibsen in the history of drama.
While almost nothing has been investigated so far as to Ogai's relationship with the theater during his stay in Germany, my study has elucidated the totality of his experience of theatregoing in Germany. What remains for me to do is to further investigate positively how the experience was reflected in the literary activity he was involved in after his return to Japan ; especially the role he played in the theatrical reform movement in Japan. Less