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国際シンポジウム 『船弁慶』から見るワキと間狂言の役割


JPARC 小講演シリーズ 日本文化資源デジタル・アーカイブ研究拠点


日時: 2015年11月17日(火) 【第1部】15:00-17:40 【第2部】18:30-20:00
場所: 立命館大学(衣笠キャンパス)アート・リサーチセンター2F 多目的ルーム
参加: 無料・予約不要
主催: 日本伝統劇能サイト〈JPARC〉、立命館大学アート・リサーチセンター



【第1部】 国際シンポジウム  15:00-17:30
15:00 挨拶
15:20 講演(英語)
「室町後期の能に於けるワキと間狂言の役割〜信光と『船弁慶』の 構造」
林 明珠(シンガポール国立大学)
15:50 講演(英語)
16:30 休憩
16:50 講演(英語)
ディエゴ・ペレッキア (立命館大学)
17:10 ディスカッション(英語と日本語)
17:40 休憩
【第2部】 講演と実演(日本語) 18:30-20:00
講演 「室町後期の能に於けるワキと間狂言『船弁慶』を中心に」
実演 能『船弁慶』より「船頭と弁慶の掛け合い」
出演者 泉 愼也 (狂言方和泉流)
有松 遼一 (ワキ方高安流)
岡 充 (ワキ方高安流)
司会 ディエゴ・ペレッキア

JPARC - Japanese Performing Arts Resource Center Lecture Series
ARC - Art Research Center, Ritsumeikan University

Symposium and Performance Demonstration
Interactive Interplay: Waki and Ai-Kyōgen Roles in Noh

Date November 17, 2015 15:00-20:00
Place: Ritsumeikan University, Kinugasa Campus. Art Research Center. Multipurpose room.。

This event consists of two parts. The afternoon symposium (in English with discussion in Japanese) will address the importance of waki and ai-kyōgen roles in late-Muromachi period noh with reference to building an interactive text of the play Funa Benkei for the JPARC database. In the evening demonstration (in Japanese), kyōgen and waki actors will discuss their roles in Funa Benkei, and perform portions of the play.

Symposium  15:00-17:30
15:00 Opening
15:20 Presentation (in English): " Important auxiliary characters - the case of Funa Benkei and late Muromachi noh plays" by Dr. Lim Beng Choo, National University of Singapore
15:50 Presentation (in English): "The sonic comic: How kyōgen actors create a scenic soundscape" by Dr. Jonah Salz, Ryukoku University
16:30 Break
16:50 Presentation (in English): "Traditional Japanese Theater Websites and the Aims of the JPARC Website" by Dr. Diego Pellecchia
17:10 Round Table Discussion (in Japanese and English) "Purpose, Problems, and Perspectives on Creating Bilingual Interactive Texts, the case of Funa Benkei." Discussants: Akama Ryō, Diego Pellecchia, Monica Bethe, others
17:40 Break (light refreshments will be provided)
Performance demonstration (in Japanese) 18:30-20:00
"Waki and Kyōgen Players in Late Medieval Noh, the case of Funa Benkei."
Performers: Izumi Shinya (Kyogen actor, Izumi-ryū)
Arimatsu Ryōichi (Waki actor, Takayasu-ryū)
Oka Mitsuru (Waki actor, Takayasu-ryū)
Introductions: Diego Pellecchia


Important auxiliary characters - the case of Funabenkei and late Muromachi noh plays

Dr Lim Beng Choo, National University of Singapore

In many of the noh plays by the late Muromachi noh composer Kanze Kojirō Nobumitsu (1435?-1516) and his peers such as Konparu Zenpō (1454 - 1532?), the waki and kyogen characters often perform functions rarely seen in plays produced by earlier noh composers, such as Zeami (1363 - 1443). They are either instrumental in the dramatic development of the play, such as Benkei in Funa Benkei, or they command a striking visual appearance such as the tsure characters in Zenpō's Ikkaku Sennin. This increased importance of the auxiliary characters in noh plays produced in this period is identified as one of the major characteristics of Furyū noh - plays that are "spectacular" and "dramatic." In my presentation I will elaborate on the nature of Furyū noh by analyzing the importance of the waki, kyogen and tsure in the late Muromachi plays from both the literary and performance perspectives, focusing on Funabenkei.

The sonic comic: How kyogen actors create a scenic soundscape

Dr. Jonah Salz, Ryukoku University

The ai in Benkei on a Boat is a tour de force by the kyogen actor. Through voice and gesture, he indicates the distance from the shore and receding Shizuka, the swift journey by the boat, and suddenly stormy waves. However this is but one example of the kyogen actors' repertory of vocal expression evoking objects and emotion, distance and intimacy, and familiar and unfamiliar sceneries. Kyogen is known for its mime and slapstick comedy, but its vocalization technique is perhaps the greater producers' gift: on a bare stage with no lighting or other sound effects, the actors' voice creates a sonic scenic space at minimal expense of time and cost, penetrating the audience's imagination.