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首页> 外文学位 >Bertolt Brecht und das Japanische theater: Aspekte der Brecht -rezeption in Japan.
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Bertolt Brecht und das Japanische theater: Aspekte der Brecht -rezeption in Japan.

机译：Bertolt Brecht和日本剧院：Brecht在日本的接待情况。

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摘要

In the nineties Brecht was the second most staged foreign author after Shakespeare in Japan. Today in the beginning of the 21st century, Shakespeare still enjoys a high popularity in Japanese theater, but Brecht is not well known any more to the audience, according to Iwabuchi Tatsuji, one of the leading representatives of Brecht's theater.;The goal of this study is to establish the factors that led Brecht to become an important playwright in the political turmoil in the sixties, followed by the decline in the seventies and eighties and a certain revival in the nineties to a more “audience friendly,” and imaginative theater of entertainment. The approach chosen was to present a historical background of Japanese theater before the Brecht reception, reflecting the radical changes in society, including literature and theater, during the Meiji restauration.;The new style of life and the resulting problems could not adequately be expressed by the centuries old and well preserved forms of the traditional theater.;In 1906 Tsubouchi founded the “Society for Art and Literature,” and in 1909 Osanai founded the “Free Theater.” This “New Theater” (Shingeki) introduced and concentrated on Western Drama, with the goal of improving Japanese theater. Tubouchi's ideal was Shakespeare.;In 1932 another pioneer of Shingeki, Hijikata Yoshi, staged Beggar's Theater, based on Brecht's Three-Penny-Opera. This performance was initiated by Senda Koreya who had just returned from his stay in Germany (1927–31) and who had experienced the theater of Erwin Piscator and Gustav von Wangenheim as well as the German and International worker's theater movement.;Senda's plan of introducing the theater of Brecht to Japan could not be materialized until after the war. In 1940 most of the politically active Shingeki troups were dissolved and the actors imprisoned by the Japanese government.;Another approach chosen in this study was to analyze the correlation between Brecht's adaption of the No play Taniko and the Japanese interpretations of Brecht's Jasager, Neinsager and Massnahme, based on Taniko.
机译：九十年代，布莱希特（Brecht）是仅次于日本莎士比亚的第二大外国作家。布莱希特剧院的主要代表之一Iwabuchi Tatsuji表示，在21世纪初的今天，莎士比亚在日本戏剧中仍然享有很高的知名度，但是观众对布莱希特的了解已经不多了。研究的目的是确定导致布莱希特（Brecht）成为六十年代政治动荡中的重要剧作家，其次是七十年代和八十年代的衰落，以及九十年代的某种复兴，成为更加“受众友好”和富有想象力的戏剧娱乐。选择的方法是在布雷希特接待前介绍日本戏剧的历史背景，以反映明治维新时期社会包括文学和戏剧在内的社会剧变。 ；传统剧院的百年历史和保存完好的形式。1906年，Tsubouchi创立了“艺术与文学学会”，1909年，Osanai创立了“自由剧院”。这个“新剧院”（Shingeki）介绍并集中于西方戏剧，目的是改善日本戏剧。 Tubouchi的理想是莎士比亚。1932年，Shingeki的另一位先驱Hijikata Yoshi在布雷希特的《三分钱歌剧》的基础上上演了乞eg剧院。这场表演是由刚离开德国（1927年至31日）返回并曾体验Erwin Piscator和Gustav von Wangenheim剧院以及德国和国际工人的剧院运动的Senda Koreya发起的。Senda的引进计划直到战争结束，布雷希特的日本剧院才得以实现。 1940年，大多数活跃于政治上的Shingeki团体被解散，演员被日本政府关押;该研究选择的另一种方法是分析布雷希特对《无戏的谷子》的改编与日本对布莱希特·贾沙格，涅因萨格和Massnahme，基于Taniko。

著录项

  • 作者

    Ayugai, Monika.;

  • 作者单位

    City University of New York.;

  • 授予单位 City University of New York.;
  • 学科 Literature Germanic.;Theater.
  • 学位 Ph.D.
  • 年度 2003
  • 页码 234 p.
  • 总页数 234
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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