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KAKEN_16K16750seika.pdf
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現代音楽劇における「間」の美学 : トランスカルチュラリティの地平
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ゲンダイ オンガクゲキ ニ オケル「マ」ノ ビガク : トランスカルチュラリティ ノ チヘイ
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Gendai ongakugeki ni okeru "ma" no bigaku : toransukaruchurariti no chihei
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Aesthetics of "ma" in contemporary music theatre: the horizon of transculturality
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北川, 千香子
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キタガワ, チカコ
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Kitagawa, Chikako
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慶應義塾大学・商学部 (日吉) ・准教授
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Research team head
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科研費研究者番号 : 40768537
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2020
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科学研究費補助金研究成果報告書
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2019
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本研究は、日本の美学や思想の特性とみなされてきた「間」の概念を、主としてドイツの演劇美学論を援用することによって理論化および相対化し、再定義を行った。「間」は、日本文化論においてしばしば神秘化され、定義も曖昧化されてきた傾向があるが、本研究では、沈黙、静寂、余白といった具体的な現象の上位概念として「間」を捉え、それらの諸現象がいかに表象され、それが受容にいかなる作用を及ぼすかについて、日欧の現代オペラ作品を例に検証した。沈黙や余白といった不在性を帯びた諸現象は、上演空間において強いプレゼンス (在) を発揮し、独自の時間を創出すると同時に、新たな意味と受容の地平を切り開く可能性を内在させている。
In this research, the concept of "ma", which has been regarded as a characteristic of Japanese aesthetics and thought, was relativized and theoretically redefined by using primarily German theories of theatre aesthetics. Although "ma" is often perceived as mysterious in Japanese culture theory, and its definition tends to be rather vague, in this study, "ma" is regarded as a superordinate concept of concrete phenomena such as silence, stillness and gap. How are these phenomena evoked in music and how do they affect their reception? These questions are examined here by using contemporary European and Japanese opera works as examples. It transpires that the absence, in form of a gap or silence, can open up new meanings as well as new ways of receiving.
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研究種目 : 若手研究 (B)
研究期間 : 2016~2019
課題番号 : 16K16750
研究分野 : 演劇学
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