Název: Okuni sóši – medzižánrový doklad o prechode od nó ku kabuki
Variantní název:
- Okuni sóši : an intergeneric evidence on a transition from nó to kabuki
Zdrojový dokument: Theatralia. 2013, roč. 16, č. 1, s. 102-117
Rozsah
102-117
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/126122
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
The study focuses on the texts linked to the earliest phase of kabuki – the dance-and-sung performances of the girl named Izumi-no Okumi in Kjoto, 1603. Obtaining those texts at a study stay in the Theatre Museum of Waseda University (Tokio), the author has aimed to prove the relation of early kabuki performances and the antecedent tradition of nó theatre. One of the texts proves to be monogatari – a prose version of Okuni's story speaking about her and her performance, the other looks like a libretto to this performance; thus, it is difficult to say to what extend this libretto may prove authentic. Its first part has an inner structure similar to that in nó drama, a fact which clearly demonstrates the interconnection of both forms. Nevertheless, the libretto gradually changes into a brand new form – that of the earliest version of the rising kabuki theatre.
Note
Táto štúdia je výstupom děkanského grantu Filozofické fakulty Masarykovy univerzity z roku 2012.
Reference
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[2] GERSTLE, C. Anrew. 1986. Circles of Fantasy – Convention in the Plays of Chikamatsu. Cambridge, Massachusetts/London: Council on East Asian Studies, Harvard University, 1986.
[3] HATTORI, Jukio. 2003. Edo Kabuki Bunkaron.Tókjó: Heibonsha, červen 2003.
[4] HATTORI, Jukio. 1986. Šoki kabuki no ičigašó ni cuite – Jamato Bunkakanbon "Okuni kabuki sóši" kó. Yamato Bunka 49 (1968): 1‒12.
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[7] Kódžien. 1998. Tókjo: Iwanami Shoten, 1998.
[8] KOMINZ, Laurence R. 2002. Origins ofKabuki Acting in Medieval Japanese Drama. In Samuel Leiter. A Kabuki Reader – History and Performance. Armonk (NY)/London: M. E. Sharpe ‒ An East Gate Book, 2002: 16‒32.
[9] Kunidžo kabuki ekotoba – Kotobagaki ojobi kaisecu kjó 2satsu. 1993. Kjóto: Library of Kyoto University, 1993.
[10] OGASAWARA, Kjóko. 2006. Okuni Kabuki Zengo. Tókjó: Iwata Shoin, Tokyo, 2006.
[11] RUMÁNEK, Ivan. 2010. Japonská dráma nó – žáner vo vývoji. Bratislava: Veda, 2010.
[12] SHIVELY, Donald H. 2002. Bakufu Versus Kabuki. In Samuel Leiter. A Kabuki Reader – History and Performance. Armonk (NY)/London: M. E. Sharpe ‒ An East Gate Book, 2002: 32‒59.
[2] GERSTLE, C. Anrew. 1986. Circles of Fantasy – Convention in the Plays of Chikamatsu. Cambridge, Massachusetts/London: Council on East Asian Studies, Harvard University, 1986.
[3] HATTORI, Jukio. 2003. Edo Kabuki Bunkaron.Tókjó: Heibonsha, červen 2003.
[4] HATTORI, Jukio. 1986. Šoki kabuki no ičigašó ni cuite – Jamato Bunkakanbon "Okuni kabuki sóši" kó. Yamato Bunka 49 (1968): 1‒12.
[5] IŠIWARI, Macutaró. 1935. Kabuki sauši-ni cuite. In Kabuki-no sauši. Tókjó: Yoneyamadó, 1935.
[6] Kabuki-no saushi. 1935. Tókjó: Yoneyamadó, 1935.
[7] Kódžien. 1998. Tókjo: Iwanami Shoten, 1998.
[8] KOMINZ, Laurence R. 2002. Origins ofKabuki Acting in Medieval Japanese Drama. In Samuel Leiter. A Kabuki Reader – History and Performance. Armonk (NY)/London: M. E. Sharpe ‒ An East Gate Book, 2002: 16‒32.
[9] Kunidžo kabuki ekotoba – Kotobagaki ojobi kaisecu kjó 2satsu. 1993. Kjóto: Library of Kyoto University, 1993.
[10] OGASAWARA, Kjóko. 2006. Okuni Kabuki Zengo. Tókjó: Iwata Shoin, Tokyo, 2006.
[11] RUMÁNEK, Ivan. 2010. Japonská dráma nó – žáner vo vývoji. Bratislava: Veda, 2010.
[12] SHIVELY, Donald H. 2002. Bakufu Versus Kabuki. In Samuel Leiter. A Kabuki Reader – History and Performance. Armonk (NY)/London: M. E. Sharpe ‒ An East Gate Book, 2002: 32‒59.