1987 Fiscal Year Final Research Report Summary
Time & Space on the Stage--- their Realization and Structure.
| Project/Area Number |
60450005
|
|---|
| Research Category |
Grant-in-Aid for General Scientific Research (B)
|
| Allocation Type | Single-year Grants |
|---|
| Research Field |
美学(含芸術諸学)
|
|---|
| Research Institution | Kobe Gakuin Women's College |
|---|
Principal Investigator |
ABE Koichi Kobe Gakuin Women's College, Professor, 教授 (60175180)
|
|---|
| Co-Investigator(Kenkyū-buntansha) |
KUROSAKA Toshiaki Kobe Gakuin Women's College, Lecturer, 講師 (60195584)
TSUKADA Yasuhiro Kobe Gakuin Women's College, Lecturer, 講師 (90155333)
KAMIKURA Tsuneyuki Osaka Shoin Women's University, Assistant Professor, 学芸学部, 助教授 (90115824)
|
|---|
| Project Period (FY) |
1985 – 1987
|
| Keywords | Time on the stage / Space on the stage / Eguimocation / Fluencv / Dissimilation / Spectator / 演技 |
|---|
| Research Abstract |
Our considerations is on the distinct characters of the time and space inthe theatre.
1) On the space; we pointed out its "equivocation". A camera can take the images of an object, by close-up shots or by long-shots, at various distances The space in a film is flexible. On the contrary, the space on a stageis determined and fixed. The spectator cannot help seeing the unnecessary things. But the things unnecessary? They often teveal the true, deepest meaning in a drama. The inflexibility of the space in a theatre bears an equivocation, and leads to a vast freedom in a theatre.
2) On the time; We pointed out its fluency". The tme in a theatre is considered, in general, to be also inflexible. But, many contemporary dramatists,e.g.Peter Shaffer("Amadeus"),made the time in a drama very free. The time changes as freely as possible. The fluency of a theatre time owes to the abstract structure of a "modern" drama in our real life.
3) On the dissimilation; We pointed out the newly systematized dissimilation in the contemporary theatre. There are two communications in a theatre, one is among actors, the other is between actors and spectators. Most of the spectators confound these two. This is why Bertolt Brechtc claimed the necessity of the dissimilation. He often used "a play within a play" methodes. However, the ways of a realization of the dissimilation are various now. For example, in a work of Hisashi Inoue, an actor plays several different roles in "a play within a play".
|
