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首页> 外文学位 >Japanese contemporary theatre in the 1980s: Noda Hideki and the manga discourse of Japan.
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Japanese contemporary theatre in the 1980s: Noda Hideki and the manga discourse of Japan.

机译：1980年代的日本当代戏剧：野田秀树和日本的漫画话语。

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摘要

During the Japanese "bubble" economy of the 1980s the youth of Japan began to exert unprecedented Influence on Japanese culture through their spirited patronage of certain art forms preciously deemed subcultural or avant-garde. Among these were manga (Japanese comics or animation) and shogekijo (Japanese little theatre). These two art forms, while very unlike in the manner in which they were produced and disseminated, can be shown to exhibit a common language---what I have labeled "manga discourse." The discourse presents the ludic, image-oriented, and seemingly Infantile but simultaneously transhistorical language. In this dissertation I will explore the range and meaning of these discursive forms as they are related to changes in the forms of shogekijo in Japan between the 1960s and the 1980s, using as my example the work of Noda Meld and his troupe Yume no Yuminsha.; Founded in the early 70s in the dark recesses of the University of Tokyo, Noda's troupe blossomed into a major component of the theatre boom of the bright leisure-oriented 80s. The question which Nodas theatre raises for those who seek to define Japan's modernization In the arts in how something defined as instinctively "little" could become so big? I argue that Noda's theatre in the 1980s should be described In oxymoronic terms as an example of avant-pop. In line with Its predecessors in the avant-garde movement of the 1960s and 70s, the 1980s shogekijo borrowed from popular theatre of the pre-modern period, in reaction to the western- and script-oriented shingeki, and from modern comedy in the early twentieth century Japan. But unlike its avant-garde predecessors, It eschewed direct political confrontation with the power holders and consciously sought to expand its audiences through capitalistic means. Japanese youth born in the postwar generation could be led to appreciate the anti-shingeki message of shogekijo , Noda skillfully predicted, only if it could be put in the playful and fantastic language of manga discourse. In some ways, this counterintultive movement to youth subculture fulfilled shogekijo 's mission to return theatre to its Japanese roots and thereby complete the process of a truly Japanese modernization in the arts.
机译：在1980年代日本的“泡沫”经济时期，日本的年轻人开始通过对某些艺术形式的热烈支持，对日本文化产生空前的影响，这些艺术形式被珍视为亚文化或前卫艺术。其中有漫画（日本漫画或动画）和shogekijo（日本小剧院）。这两种艺术形式虽然在制作和传播方式上很不相同，但可以显示出一种共同的语言，即我所说的“漫画话语”。话语呈现出荒诞，面向图像的，看似幼稚但同时具有跨历史性的语言。在本文中，我将探讨这些话语形式的范围和意义，这些话语与1960年代至1980年代日本shogekijo形式的变化有关，以诺达·梅尔德（Noda Meld）和他的艺术团Yume no Yuminsha的作品为例。 ;野田佳彦（Noda）的剧团成立于70年代初期，位于东京大学的黑暗小凹处，是明亮的以休闲为导向的80年代剧场热潮的重要组成部分。对于那些试图定义日本现代化的人来说，野田大剧院会带来什么问题？在艺术上，本能地被定义为“小”的东西如何变得如此之大？我认为应该用矛盾的术语来描述1980年代野田的剧院，作为先锋派的一个例子。与它在1960年代和70年代前卫运动中的前辈相一致，1980年代shogekijo借用了前现代时期的流行戏剧，以回应西方和剧本式的shingeki，并借鉴了早期的现代喜剧。二十世纪的日本。但是，与前卫的前辈不同，它避免了与掌权者的直接政治对抗，并有意识地寻求通过资本主义手段扩大受众。野田（Noda）巧妙地预言，战后一代出生的日本年轻人可以欣赏shogekijo的反shingeki信息，前提是可以将其用漫画话语中的嬉戏和奇妙的语言表达。在某种程度上，这种对年轻人亚文化的反通俗的运动实现了Shogekijo的使命，即将戏剧重新回到日本的根源，从而完成了真正的日本艺术现代化进程。

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  • 作者

    Fukushima, Yoshiko.;

  • 作者单位

    New York University.;

  • 授予单位 New York University.;
  • 学科 Literature Asian.; History Asia Australia and Oceania.; Theater.
  • 学位 Ph.D.
  • 年度 2000
  • 页码 378 p.
  • 总页数 378
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 世界史;公共建筑;
  • 关键词

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