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In the scenes where the demons appear and vanish, and in those where the warrior vanquishes demons with gods\u0027 miraculous assistance, various stage-tricks are employed so that a number of spectacular highlights are provided. 3. As far as the music is concerned, we recognize numerous musical climaxes in these four works. As observed in the present paper, \"Kijin-taiji-mono\" in Tosa Joruri are provided with ample highlights by means of complicated stage-tricks. The contents of the stories, in contrast with the simplicity of Kimpira Joruri, are focused on love affairs full of humanistic pathos. 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土佐浄瑠璃の脚色法(六) : 鬼神退治もの
https://twcu.repo.nii.ac.jp/records/26096
https://twcu.repo.nii.ac.jp/records/2609668d991cd-7399-4722-b30b-bc8ea104bf6e
名前 / ファイル | ライセンス | アクション |
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KJ00004475231.pdf (1.3 MB)
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Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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公開日 | 2010-04-26 | |||||
タイトル | ||||||
タイトル | 土佐浄瑠璃の脚色法(六) : 鬼神退治もの | |||||
言語 | ||||||
言語 | jpn | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | departmental bulletin paper | |||||
タイトル(別表記) | ||||||
その他のタイトル | AN ADAPTATION OF TOSA JORURI FOR THE STAGE (VI) : Observations on "Kijin-taiji-mono" | |||||
著者 |
鳥居, フミ子
× 鳥居, フミ子 |
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著者名ヨミ | ||||||
値 | トリイ, フミコ | |||||
著者名(別表記) | ||||||
値 | TORII, Fumiko | |||||
著者名(別表記) | ||||||
値 | TORII, Humiko | |||||
内容 | ||||||
内容記述タイプ | Other | |||||
内容記述 | In Tosa Joruri, there are four "Kijin-taiji-mono" (Demon-conquering stones): 1) Shuten-doji; 2) Suzukayama-otakemaru; 3) Shinsen-momijigari; 4) Yorimasa. Of these four, 1) Shuten-doji, which has been repeatedly performed as the authentic and traditional music piece since the beginning of the Tosa Joruri history, was taken over from Ko-Joruri, the predecessor of Tosa Joruri, with almost no changes in the text. Unlike 1), the other three were all first made into Tosa Joruri, in other words, they are new adaptations according to Tosa Joruri pattern. We observe the following common characteristics shared in these "Kijin-taiji-mono" adapted for the stage with the new Tosa Joruri method. 1. The action revolves around love affairs, jealousy and vindictive ghosts that have, in fact, no connection with the conquering of the demons. The brave warrior who fights with the demons is characterized in Tosa Joruri as a man of elegance who enjoys love affairs as much as fighting. At the same time, there are also love affairs between pairs of other characters, and all the love affairs interlock with each other in a very complicated way. 2. In the scenes where the demons appear and vanish, and in those where the warrior vanquishes demons with gods' miraculous assistance, various stage-tricks are employed so that a number of spectacular highlights are provided. 3. As far as the music is concerned, we recognize numerous musical climaxes in these four works. As observed in the present paper, "Kijin-taiji-mono" in Tosa Joruri are provided with ample highlights by means of complicated stage-tricks. The contents of the stories, in contrast with the simplicity of Kimpira Joruri, are focused on love affairs full of humanistic pathos. These elements both from the stage devices and the stories themselves are constructed with brilliant and lyrical musical melodies into a well-shaped genre called Tosa Joruri. | |||||
コンテンツの種類 | ||||||
値 | 紀要論文 | |||||
NCID | ||||||
収録物識別子タイプ | NCID | |||||
収録物識別子 | AN00161550 | |||||
書誌情報 |
東京女子大学紀要論集 巻 36, 号 1, p. 115-144, 発行日 1985-09-25 |